VANILLA SKY
Written by
Cameron Crowe
Shooting Script
ON BLACK
We hear a whooshing sound, getting louder.
A BLINK OF AN IMAGE
New York City from a perspective of flight, not an
airplane, a swooping diving shot. Back to black.
A WOMAN'S VOICE
Abre los ojos... open your eyes...
open your eyes...
INT. DAVID'S BEDROOM - EARLY MORNING
DAVID AAMES, JR., 32, swings out of bed and sits on the
corner of his mattress. it's a chilly New York City
morning. Early sunlight glows around the corner's of his
curtains.
A WOMAN'S VOICE
open your eyes...
He reaches behind him to shut off a slim voice-activated
clock-radio. He rises, a comforter draped around his
shoulders, and heads to the bathroom.
INT. DAVID'S BATHROOM - MORNING
David regards himself in the mirror of a beautifully-tiled
and well-appointed bathroom. in his thirties now, his
looks have only deepened and improved. He brushes his
teeth. He spots a gray hair, and holding tweezers, seizes
and plucks it.
INT. DAVID'S BEDROOM - MORNING
David puts on a shirt. Checks his wallet for money. His
bedroom is elegant and spare.
INT. DAVID'S NEW YORK CITY APARTMENT - MORNING
He slips down the stairs into the expansive living area of
this deeply-textured apartment. A stunning, inherited book
collection lines the walls.
INT./EXT. NEW YORK CITY GARAGE BELOW APARTMENT/STREETS -
MORNING
David starts up his dark green sports car, and roars onto
the New York City streets.
2
EXT. NEW YORK SIDE STREETS u- MORNING
David travels the side-streets to work. He senses a
growing weirdness. The streets are empty. He looks at. his
watch. It's 8:12. He continues anxiously. Runs a red
light. Music rises.
EXT. TIMES SQUARE -- MORNING
The most recognized piece of real-estate in the world is
silent. It is as if the world's biggest parade has just
left, taking everybody with it. David pulls over
haphazardly. He exits the car, leaving it in the middle of
the street. He begins to walk, faster now, as music rises.
All the electricity is on. There is absolutely nobody in
sight. David begins to run, searching for humanity. The
billboards - electronic and still - all sell easy solutions
to his loneliness. He pulls up short., stopping and crying
out in anguish. There is no one left in the world.
A WOMAN'S VOICE
Open your eyes... open your eyes,
David...
DISSOLVE TO:
INT. BEDROOM - MORNING
David hangs out of bed, his mouth in an open silent scream.
Covers his face with both hands.
A WOMAN'S VOICE
. open your eyes...
He reaches behind to shut off the same clock-radio, and its
voice. He makes a relieved agonized sound into the
pillow. Gets up, sees a pizza box... a container of
soup... a remote control on the floor. We hear an incisive
voice with a comforting lilt - a man we'll meet later.
A MAN'S VOICE
Well, I suppose the empty street
meant loneliness.
DAVID'S VOICE
You're a shrink. You've got to do
better than that.
A MAN'S VOICE
I'm a doctor. Let's not
stereotype each other. Not all
rich kids are soul-less, and not
all psychologists care about
dreams. The question is how you
3
got here, and why you've been
charged.
DAVID'S VOICE
What do you want to know? I was
about to turn 33. I ran three
magazines, and a world-wide
publishing house. On most days I
actually fooled myself into
believing it would last forever.
INT. BATHROOM - MORNING
David checks himself in the mirror. Seizes and plucks that
same gray hair.
DAVID'S VOICE
Isn't that what being young is
about? Believing secretly that
you would be the one person, in
the history of man, who would live
forever?
INT. BEDROOM - MORNING
David enters, reaching for his wallet, repeating the
morning ritual. A figure stirs in the bed behind him. She
leans upward, wearing David's college basketball tank for a
pajama-top. She's warm and wicked, a mildly reformed party
girl, the kind of girl first-novels are written about. She
is JULIANNA GIANNI,25.
JULIANNA
Where you going so early?
DAVID
(slightly self-conscious)
Hey, don't record any more
messages on my alarm--clock, okay?
JULIANNA
Why not?
DAVID
I'll think we're married or
something.
JULIANNA
Don't you ever say that word. Or
I'll never come over here and
bring you chicken soup and fuck
your brains out again.
4
DAVID (O.S.)
(exiting, from other
room)
How's your cold?
JULIANNA
Still there. How's yours?
DAVID (U.S..)
I guess you took my mind off it.
She pulls a pink pill-box purse from the nightstand,
withdraws a multi-colored phone.
JULIANNA
Reyna, it's Julianna. I missed my
audition.
(dramatic, like Bette Davis)
I lost my head. Listen, I have to
go.
(whispers)
I'm with David.
INT. KITCHEN - MORNING
David in his steel-and-linoleum bachelor kitchen. Julie
swings into view. Her blouse is unbuttoned two buttons
too many, down to mid-chest. She gives him a kiss on the
cheek and lingers. David grabs a racquetball bag, talks to
the next. room.
DAVID
Help yourself to whatever you
want. Set the alarm, Maria will
clean up. Lock up when you go.
And... you are the greatest.
JULIANNA
Bye "honey!"
DAVID
Bye "honey!" I'll call you later.
JULIANNA
When? When?
DAVID
Soon!
They have a comfortable, healthy, mutually satisfying,
gloriously superficial relationship.
5
INT./EXT. NEW YORK CITY GARAGE/STREETS - DAY
David is about to enter the green sports car, then thinks
better of it. He fires up a knock-around beater car from
his collection. He drives into the street which is,
comfortingly, now full of people. We hear R.E.M.'s "All
The Right Friends."
EXT. NEW YORK SIDE-STREETS - DAY
David drives the crowded streets. It all seems more
poignant today. Life is good again.
EXT. BRIAN'S APARTMENT - DAY
David pulls up to a lower-end apartment, checks his watch.
Enter the hung-over BRIAN SHELBY, 30ish. In a world of
acquaintances, Brian is a true friend. He has all the
qualities of Abe Lincoln and, much to his chagrin, the
looks too. He hops in the car with racquetball bag.
DAVID
Did you reserve the court?
BRIAN
Easy. I can't handle heavy
conversation at this ungodly hour.
DAVID
I'm sorry to do this early. I
gotta be done by 10.
Car phone rings. David checks Caller ID - it's his office.
He clicks on.
ASSISTANT VOICE (RACHEL)
You're not going to make the 8:45,
are you?
DAVID
How did you find me?
RACHEL'S VOICE
David Aames, you have to check the
colors of the letters for the new
issue of Rise.
DAVID
What are the colors?
RACHEL'S VOICE
Yellow-and-red... or the
traditional white.
6
DAVID
Let, me think about it.
RACHEL'S VOICE
David, please. Don't be late for
the ten o'clock with the board.
DAVID
Okay, but. don't tell anybody where
I am I don't care if God calls.
I'm very busy.
BRIAN
Can't you just get rid of that
board?
DAVID
The Seven Dwarves? No.
BRIAN
Those people drive you nuts.
DAVID
And that was the desire of my
father, who hired them.
BRIAN
(suspicious pause)
You fucked Julie Gianni again,
didn't you?
David takes off driving.
INT. ANOTHER STREET - DAY - DRIVING
BRIAN
I know someone was there when I
called. You had that tone.
(imitates nasal phone
voice)
Oh, no man, I've got a cold. I'm
hanging in tonight.
DAVID
(shaky defense)
I had a cold. I was alone.
BRIAN
Fine. You can do whatever you
want with your life -
DAVID
Thanks.
7
BRIAN
-- but one day you'll know what
love truly is. It's the sour and
the sweet. And I know sour which
allows me to appreciate the sweet.
DAVID
Julie Gi.anni is a friend.
Sometimes we sleep together.
Brian howls in pain, like a hurt dog.
DAVID
What --
BRIAN
My dream girl... Julie Gianni...
is your... fuck buddy.
Brian emits another pained howl. David reaches over to
change the music.
DAVID
What do you want to listen to?
BRIAN
Slow down, man.
DAVID
What have we got here - Barcelona,
Looper... Radiohead?
Brian freezes at what he sees.
BRIAN
Look out! Look out!
David turns and sees he's hurtling into the back of a car
stopped just in front of him. Clenching he hits the
brakes, narrowly avoiding a high-speech collision. And
then... to his right... another car comes hurtling toward
him... and stops within an inch of deadly impact. There
is an awful moment, as the second car blares on the horn.
Traffic continues, but the lingering feeling of dread and
confusion is still in the air.
BRIAN
Fuck!
DAVID
(annoyed)
We almost died.
8
BRIAN
I know. My own death was right
there in front of me, and you know
what happened? Your life flashed
before my eyes.
DAVID
How was it?
BRIAN
Almost worth dying for.
Pedestrians continue walking around the honking tangled
mass of the near-.accident.
EXT. AAMES PUBLICATIONS - DAY
David meets Peter Brown and RACHEL, his second assistant,
at. the front of the well-appointed headquarters of Aames
Publications. Aames hops out of car and heads into the
building.
INT. AAMES PUBLICATIONS - DAY
David Aames Jr. turns down the corridor of Rise Magazine, a
male youth-culture-style magazine. Rachel gives him daily
tabloid reports, continues with the essentials.
RACHEL
The art department needs a
decision on the colors. Yellow-
and- red, or white? And the
board is pissed you're late.
DAVID
You changed your hair.
David taps on the window of the art department, in panic
over several cover mock-ups. He gives a presidential
thumbs-up, moves on. They look at each other, trying to
decipher if the thumbs-up was a decision.
ART EDITOR
Did he mean the yellow-and-red or
the white?
David passes a holdover from the old days, older
Receptionist (BEATRICE) who speaks uncomfortably and
gruffly into a headset. She gives David a knowing look -
late again.
RACHEL
They're all waiting for you. And
David - opinions are expected.
9
A MAN'S VOICE
Do you dream about the Board,
David? The Seven Dwarves, as you
call them?
David walks into the office. Framed original photos from
album covers co-mingle with a splash of cultured art and
books. Seven very-interested and very-alert looking Older
Executives wait.
DAVID (V.0.)
Sneezy, Bashful, Sleepy, Happy,
Doc, Dopey, and of course, Grumpy.
GRUMPY
(skeptical)
How was Aspen?
DAVID
(playful, mock drama)
Good. Now I want answers, and I
want them now.
(pause)
How's it going?
He gestures charmingly, easily, and bows with apology over
his lateness. All are happy to see him. Sort of.
DAVID'S VOICE
They still look at me like I was
still eleven years old.
FLASHBACK
David at 11, blithely skateboarding the hallways. He
passes Beatrice, who turns to an editor.
BEATRICE
He's going to inherit everything.
He gets it all.
if
INT. PRISON PSYCHIATRIC UNIT - NIGHT (INTERROGATION # 1)
The light from a small line of chicken-wired windows cuts
through the blackness. In the shadows of this dank room,
we hear his voice but we do not see him. It is the
smaller, slightly muffled tone of David Aames. In the
shadows, he wears a mask.
MCCABE
You're scared of your dreams,
aren't you?
10
Portrait of CURTIS McCABE, 52. Doctor of Psychiatry,
prison division. He's far too wily to spend the currency
of his brilliance just yet. It's too early in their
relationship. He stands tall, leaning on a steel desk,
polishing his glasses with end of his coat.
DAVID
It's a nightmare either way.
MCCABE
Is that how do you explain what's
happened to you?
DAVID
What --
MCCABE
What happened to your face?
DAVID
I'm not talking to you anymore.
MCCABE
And you don't want to show me your
face.
DAVID
No.
MCCABE
Do you know why you're here?
DAVID
(sarcastic)
The conversation, the coffee --
MCCABE
David - the part where we parry
and joust, and get to know each
other bit-by-bit... we're going to
have to skip it. You've been
charged with murder. In four
weeks, a judge will determine your
fate based on what I write. You
will talk to me --
DAVID
There is no murder! It didn't
happen! I don't have to talk to
anybody!
A Contentious Prison Guard (AARON) swings his feet down and
gets up from watching a 17-inch television on a stool. He
exits into the bigger room to quiet down David Aames.
11
Slight push in to show the television show he is watching,
and we see a snippet of "To Kill A Mockingbird."
AARON
You want me to help -
DAVID
Get the fuck away from me.
AARON
Take it easy, sunshine.
DAVID
Get the fuck away from me.
AARON
Take it easy, Face. Your whole
story is full of holes!
With great power, McCabe advances on the guard. His
presence, when he turns on the switches, is considerable.
MCCABE.
Stop! Please leave. Right now.
I'll take responsibility.
AARON
(whispering, exiting)
I'm gonna get you, Daddy's boy
little freak.
DAVID
My parents are dead, you fuck!
MCCABE
Enough!
The Contentious Guard leaves.
MCCABE
Is it true?
DAVID
(sing-song)
Good cop... bad cop.
MCCABE
That you're a Daddy's boy?
DAVID
(in darkness, by rote)
Primer on David Aames, Senior. My
father was not built for the 21st
Century. He never ate at
12
McDonald's, not once, and never
watched television. Yet his
biggest magazine is still TV
Digest. He and my mother threw
the grandest parties of the
literary world. He ballooned,
jumped from planes, sought
adventure... His autobiography is
the manual for every cutthroat
publisher in New York. It's
called Defending the Kingdom.
MCCABE
I've read it. Page 127. "David
Junior was a delight as a child."
Did I miss something here? Is
that all he wrote about you?
DAVID
I don't think he ever got over the
fact that I was terrified of
heights. And when he and my
mother were run over by a drunken
teenager on New Year's Eve, ten
years ago...
David Aames moves closer to the light. We see a strange
bland expression of his mask, at first other--worldly... and
then more clearly.
DAVID
he left the keys to the
Kingdom to me... 51% control, 49%
going to a group of seven board
members who all thought they were
first in line.
MCCABE
And you believe the Board, the
Seven Dwarves, put you here to
take control of your company.
DAVID
What do you care?
MCCABE
We're just talking. And tonight's
Wednesday night, and I go to Black
Angus for dinner with my daughters
on Wednesday nights, so I'll have
to leave soon. You understand
that our time is limited, don't
you?
13
DAVID
If I talk, you'll just think I'm
crazy.
McCabe gathers his things.
MCCABE
With all the respect I can offer a
man wearing a latex mask and
spouting conspiracy theories,
David, trust me - you've crossed
that bridge.
DAVID
Fine. Enjoy your dinner.
Somehow the lilt in McCabe's voice draws him closer.
MCCABE
There are five basic emotions in
life. Tell me. what emotion
gripped... him... before he
entered that cell? Was it Guilt?
Shadows. There is no answer, just a rustling and a growing
sense of anticipation in the darkness.
MCCABE
Hate? Shame?
Shadows. Still no answer.
MCCABE
Revenge...
McCabe now shows the invisible skill with which he has
brought his client to the precipice. And now, with one
word, he invites David Aames to look over.
MCCABE
Love?
In the darkness, a rustling and the slight turn of a head.
MCCABE
I'm completely on the wrong track,
aren't I?
INVISIBLE
DISSOLVE TO:
14
INT. DAVID'S APARTMENT/BACK ROOM OFF KITCHEN - NIGHT
From the darkened back room, David Aames appears with ice,
and re-enters his party.
DAVID
Who needs ice?
Aames moves swirls is more like it - through into his
party, which is nicely underway. Upscale. Modern. Part
literary crowd. Part fashion crowd. He's great in a
crowd. Surrounded by people, David Aames comes alive.
DAVID MOVES THROUGH PARTY
catching the attention of a model. (LYNETTE)
LYNETTE
David! Happy Birthday.
DAVID
Jesus, you have the greatest taste
in shoes I've ever seen. Bar
none. Anywhere.
A Woman Caterer in Whites (EMMA) slips by with a knowing
smile.
EMMA THE CATERER
The old place sure looks more
crowded with people in it.
DAVID
Emma, do you know Lynette?
EMMA THE CATERER
No, but I shudder to think what. we
might have in common.
David notices that Brian Shelby has arrived with a guest, a
Woman who struggles with a package and a very large coat.
On first glance, she's just another girl. On second
glance, she's a killer. He notes her oddly funny behavior.
She removes the coat to reveal a very simple natural
beauty. She is SOFIA SERRANO, a 27 year-old city girl with
a barely containable life-force. Enter PETER BROWN,
David's male assistant with surreptitious headset. He
gestures to a stereo appliance set up in David's living
room.
PETER BROWN
The Living Stereo system is online
and looking great. it's an
15
amazing prototype. They'd love an
article on it if you like it...
David nods, still focused on Sofia. Suddenly, he finds he
can't take his eyes off her.
PETER BROWN
and happy birthday, sir.
ANGLE ON FRONT ENTRANCE
as David arrives to greet Brian and his guest.
BRIAN
Hey man. Happy birthday and all
the usual shit people say to each
other. How you doing?
DAVID
Livin' the dream, baby. Livin'
the dream.
The two friends hug. David shares a quick glance with
Brian's date, who still burdened with coat.
BRIAN
(to Sofia, as in 'meet the
notorious...')
Meet David Aames.
DAVID
(can't help but flirt)
And to what do I owe this
pleasure, the pleasure of --
SOFIA
(playful)
-- the pleasure of Sofia. Serrano.
BRIAN
We met today at the library, if
you can believe that --
SOFIA
I'm sorry about my coat. It's too
big for your closet.
BRIAN
- we were both pretending to be
intellectuals.
DAVID
No no, I think it's amazing. I
love your coat.
16
SOFIA
I overdressed. I mean I
underdressed.
BRIAN
I'll just continue like you're
both actually listening to me.
SOFIA
(to David)
Do you have another room to put it
in?
BRIAN
(invisible, re: their chemistry)
I have ceased to exist.
DAVID
Well, Madison Square Garden is
nearby, it might fit there.
SOFIA
(shoves David playfully,
as in touche)
Happy Birthday.
Her upbeat physicality is intoxicating. Sofia hands David
her present.
BRIAN
We picked it out together.
Neither look at Brian. Brian takes a breath. He's been
here before.
DAVID
Thank you.
BRIAN
We picked it out together. We...
SOFIA
Welcome.
BRIAN
Stop flirting and open it.
DAVID
Okay.
BRIAN
Let's get a drink.
17
SOFIA
Okay.
DAVID
I'll leave this upstairs.
David exits. They are left to consider his personal
charisma.
ANGLE ON A HOLOGRAPHIC DISPLAY CONNECTED TO STEREO
An odd and disarmingly beautiful display of Coltrane
performing "My Favorite Things" in David's living room.
Sofia passes a hand through Coltrane's image, admires it.
ON DAVID
David is approached by THOMAS TIPP, a Brit, and an
Associate board-member at Aames Publications. Tipp is ten
years older than David, and he is the rarest of birds. A
sentimental lawyer. And at the moment he's a bit drunk.
DAVID
Hey Tommy.
David moves to address him so he can still track Sofia.
TIPP
Hey. Listen to me. Don't blow
me off. I'm all packed, I'm going
back to London and I understand.
You put me up for that other
attorney's job, so you didn't have
to fire me. A classy move, and
your father would have done the
same ---
DAVID
It's okay, Tommy --
TIPP
I became incompetent. Is there
anything more unbecoming than an
aging mascot? I cared about your
father. I lived and breathed for
him. But these guys, the board,
they think you're stupid. A
corporate hazard, a rogue.
But the word "stupid" is what David heard loudest of all.
Nearby, we see a Woman Partner (one of the Seven Dwarves)
taking a quick look at David.
18
TIPP
But they're going to find a way to
get you out. They're lined up for
your office -
David scans the room. Beneath the good cheer, he sees the
other layer. Lying. Disloyalty. All part of the
institution he enjoys forgetting exists. Each word bashes
his soul.
TIPP
-- your job. Your life. Your
position. They are working day
and night. to cheat you out of your
51% vote. And they are going to
sell this tradition, this
tradition of words, so they can
eat at a better cafeteria. And
what they don't know is this -
(gestures grandly to
books that surround
them)
- people will read again.
David's gaze falls upon Sofia, who is looking directly at
him. And for one blinding moment, something passes between
them. She looks away. He feels saved.
DAVID
(interrupting with
finality)
I got it.
TIPP
They even have a nickname for you
behind your back.
David smiles faintly. Understandingly. Tipp kisses him
on the cheek, boldly and drunkenly. He feels like a hero
to himself.
TIPP
Citizen Dildo.
David flinches, just a little.
TIPP
Now you've got great instincts.
But I say this with complete love.
Claim your life... Learn to be an
Asshole... Don't be -
19
DAVID
(extracting himself)
Two's enough -
TIPP
Don ' t be-
(immediately)
Okay. Forgive me. I still
believe in this family. Even if
it's only you.
David continues tracking Sofia as he slips over to Peter
Brown.
DAVID
Get Tipp out of here, drive him
home, and in the morning tell him
he's re-hired with a 50% raise.
Set up a meeting with the other
attorneys. I'm going to be in
early tomorrow --
(a look from Peter Brown)
-- earlier than usual.
INT. DAVID'S BEDROOM - NIGHT
David enters, shuts the door and sets Sofia's present down.
A party dress is on his bed.
JULIANNA
Hello handsome.
He turns to see Julie Gianni in the bathroom doorway,
wrapped in a comforter.
JULIANNA
I've come to wish you happy
birthday.
DAVID
I didn't invite you, Julie.
JULIANNA
Yeah, that was a little weird -
DAVID
But that's how it works with
parties. You have to be invited.
JULIANNA
I'm mad at you, you dick. We made
love four times the other night.
20
DAVID
Is that good?
JULIANNA
Two is good. Three is very good.
But four -
DAVID
(fishing for a
compliment)
Four is pretty good?
JULIANNA
No, four is... four is... just
hold me.
DAVID
Four is what?
JULIANNA
Hold me, and then I'll leave, and
you can go talk to that cute
brunette.
DAVID
Four is what?
JULIANNA
I don't want to meet your fancy
friends. I knew 'em all back when
I was fancy too.
He holds her. They talk in between friendly kisses.
DAVID
Four is what?
She pulls away, and talks plainly to him.
JULIANNA
She looks like a moth, David.
DAVID
A moth?
JULIANNA
Sometimes I worry about one of
these clever girls in a big silly
coat who'll play you in just the
right way, and I'll lose my
friend. And there'll be no more
chicken soup parties for you and
me.
21
She kisses him again. David very gently, and skillfully
resists. She gets the message.
JULIANNA
When will you call me? And don't
say soon. I hate it when you say
"soon."
INT. PARTY -- NIGHT
Sofia eyes a framed smashed guitar handsomely mounted in a
glass display case.
SOFIA
So this is what's become of rock
and roll. A smashed guitar behind
a glass case displayed on some
rich guy's wall.
DAVID
It was a gift, actually.
She turns and sees it's David, engaging smile in place.
She jumps slightly.
SOFIA
(apologetic)
I like it.
She turns and walks away, David following close behind.
DAVID
Whoa, whoa, whoa.
SOFIA
- how did you get all this stuff,
this apartment, this life -
David is looking just over her shoulder. She turns to see
an almost disturbingly large portrait of David Aames, Sr.
She turns back.
SOFIA
I see.
DAVID
How about if you help me? Unless
I'm horning in here.
SOFIA
You are, but the food's good.
22
DAVID
(playful, like a spy)
See, I've got a little problem.
I've got a stalker.
SOFIA
It doesn't. sound life-threatening.
Someone passes, bumping her slightly, into him.
DAVID
I need a cover. I need for you to
pretend we're having a
scintillating conversation. And
you're wildly entertained. I know
it's tough.
SOFIA
I'll improvise -
DAVID
She's right across the room and
she's burning a hole in my back
right now, isn't she?
SOFIA
Red dress, strappy shoes?
DAVID
Yes_
SOFIA
(beat, jarred)
-- wow, she's really staring at
you.
DAVID
Shit.
SOFIA
And she seems to be growing...
less happy.
DAVID
Hmm.
SOFIA
I think she's the saddest girl to
ever hold a martini.
Julie Gianni sits on the steps watching. The girl, and the
dress, looked much happier in the bedroom. Julie rises and
begins to move.
23
ON BRIAN
Brian holds a drink, attempts to crash a conversation
between two models. His debonair act is shaky.
INT. APARTMENT STAIRCASE -- NIGHT
David and Sofia race up the stairs. Bad kids having fun.
SOFIA
You have another apartment?
DAVID
Sort of a day office. Come on -
They arrive at the door to a smaller upstairs apartment.
SOFIA
I'm not going in there.
DAVID
Well I am. Goodnight.
He enters and shuts the door. Frustrated, she stands for a
moment, listening to the music streaming from the
downstairs apartment. We watch her private moment as she
decides to leave him, turns, feels the emotional pull,
dances back and knocks sharply three times.
SOFIA
I hear her coming.
DAVID (0.5.)
Really?
SOFIA
No.
David pulls her inside. Shuts the door behind them.
INT. PARTY - NIGHT
Julianna and Brian, both looking for David, discover each
other.
INT. HOME APARTMENT/OFFICE - NIGHT
Artwork on the walls. Sofia is drawn to a powerful
Monet... and it is not a copy.
DAVID
We're safe. And I've got nothing
to drink...
24
SOFIA
Who did these paintings?
DAVID
This is Joni Mitchell. This one
is Monet. And this one is done by
me.
(as a tour guide)
It is a snowboard.
SOFIA
Well, two of them are geniuses.
(laughs)
DAVID
(off the Monet)
It's the real thing. His
paintbrush painted that vanilla
sky. His canvas. It. was my
mother's.
INT. PARTY - NIGHT
Julianna and Brian hold their private conversation by a
piano. They are bonded, almost mesmerized by their mutual
fascination for David.
INT. DAVID'S OTHER APARTMENT -- NIGHT
David and Sofia laugh.
DAVID
You know what I think? You're
either a very good actress or you
really do sort of like me.
SOFIA
I am an actress.
DAVID
There's probably not too much you
aren't great at.
SOFIA
Are you about to compliment, my
phone voice?
DAVID
It's pretty good, you know -
SOFIA
Oh, I'd only disappoint, you. See
- I'm not. qualified. I can spell.
25
DAVID
I'm surprised you're available.
SOFIA
I'm surprised you're surprised.
DAVID
I can't keep this banter going.
SOFIA
Me neither.
Beat. They drop the act. A powerful, awkward moment... and
the door opens.
BRIAN
I caught you.
SOFIA
Brian! Come in here!
DAVID
What's going on --
BRIAN
Your friends are fun and I'm
drunk.
DAVID
(cheerful)
Julie Gianni is stalking me.
SOFIA
She looked dangerous.
BRIAN
Nobody stalks me. So I drink.
DAVID
Well, we're out of drinks up here.
BRIAN
Here, finish my Jack and Coke.
He messily tries to hand his drink to David, but spills it
embarrassingly. All his cool is gone, and what's left are
his friends covering for him, cleaning up.
DAVID
These stupid glasses -
BRIAN
No, it's the stupid guy holding
it.
26
SOFIA
(embarrassed)
Don't worry. I'll get. us all
something. Jacks and Cokes?
She exits, leaving the two friends.
BRIAN
I better hit it. I drank too much
and I didn't fucking eat.
DAVID
Don't be stupid. The party's just
starting.
BRIAN
(moving away)
For you it is.
DAVID
You can't go. You're my guest of
honor.
BRIAN
Fuck you, David. You're paying me
to write my novel, so you own me.
DAVID
I don't own you. You're
brilliant, you're good-looking,
you're handsome.
BRIAN
But why'd you have to hit on
Sofia?
DAVID
No one's hitting on Sofia.
BRIAN
Fine. Whatever you say. I'm
crazy, I'm blind.
DAVID
No, you're not blind. You're just
drinking Jack Daniels. And when
you drink Jack, you start. in with
that Frank Sinatra, "She Shot. Me
Down," gimme a cigarette, King of
Sad thing...
BRIAN
That. I do. Gimme a cigarette.
27
DAVID
I'll find one.
BRIAN
But wait. You're rich and women
love you and I'm from Ohio and I'm
drunk. Can I tell you the truth?
DAVID
Everyone does.
BRIAN
I dig her. And I've never said
this to you before, about any
girl. But she could be... could
be could be could be... the girl
of my fuckin dreams.
DAVID
You're not from Ohio.
BRIAN
I know.
BRIAN
But if she fucks tip our friendship
- she can go to hell. I won't
allow it! We are bros.
DAVID
I feel the same way.
BRIAN
(wishes he believed it)
Sure you do.
Brianprepares to leave, as Sofia returns with drinks.
SOFIA
Where you going?
BRIAN
I am Frank. And Frank must go.
SOFIA
Huh?
BRIAN
I good you bid evening.
Sofialooks at her watch, and the situation.
SOFIA
Hang on, I'll go with you.
28
BRIAN
Stay, baby.
DAVID
I'll give you a lift home later.
SOFIA
No, I have to work tomorrow.
BRIAN
You're in great. hands.
(beat, realizing it's
over)
I'm just humoring myself that my
opinion matters.
Brian looks at the two of them. Life is telling him, and
he knows it's time to go. Portrait of a man who will not
get what. he wants. David notes the poetry in his friend.
BRIAN
(leans in close to David)
You will never know the exquisite
pain of the guy who goes home
alone. Because without. the
bitter, baby, the sweet ain't as
sweet. Have a good time.
He exits like a champ, a glorious sad-sack, with a hand
flourish.
DAVID
The Sweet and Sour speech again.
INT. PARTY
Julie Gianni dances, her eyes closed, her hand around a
strange man's neck.
EXT. SOFIA'S APARTMENT __ NIGHT
They stand nervously out in front of her apartment. In the
distance, rain.
DAVID
A lot of people are scared of
heights. It's not the heights
that bother me, it's the impact
that terrifies me.
(off her look)
I won't stay long.
She laughs. It was never his decision to make.
29
INT. APARTMENT - NIGHT
She switches the light on in an artfully messy city girl
apartment. A life is lived here, a bed on the back-room
floor, a bag of trash on the counter, lamp is askew. She
makes no attempt to clean it up. He soaks in the details,
including some miniature dolls that occupy her kitchen and
shelves.
SOFIA
Hey Paulo!
A large goofy dog comes running at her, and then proceeds
to slather David with love too.
DAVID
I'm glad he protects you. This is
a lethal canine.
SOFIA
(from other room)
I love living here. And I refuse
to clean up!
DAVID
No problem.
SOFIA
I've got to work around the clock
to keep this place.
David eases the dog away as he examines the oddly exquisite
dolls. He grabs a look at her in the other room. A bit of
leg between boot and skirt. As he admires the dolls:
DAVID
So you're really a dancer, huh?
SOFIA
For 14 years. But I don't dance
like you dance.
She laughs to herself, steals a look at him. Turns away.
INT. KITCHEN - NIGHT
SOFIA
Do you want something to drink?
DAVID
Sure.
David looks at her refrigerator. A note reads: Call Dad!
An odd epiphany occurs as he sees the collage of photos
30
that represent a hard-working, hard-earned, committed and
passionate life.
Shot moves across the photos. A young girl living a young
girl's hard-working and happy life. Group photos of co-
workers. A few from a vacation. A whole new cast of
characters, all committed, and they all look inviting to
him. And one gloriously random photo of her in Cabo San
Lucas, raising a toast with friends.
DAVID
I like your life.
SOFIA
Well, it's mine and you can't have
it.
David examines a humorously embarrassing vacation photo of
a sloshed Sofia, a guy's arm reaching for her breast.
Dedication reads: To Sergio! Marry me!
DAVID
I do not want to know the story
behind this photo. Who's Sergio?
SOFIA
It's a nickname.
DAVID
Your nickname is Sergio?
SOFIA
It's a long story, and we don't
know each other.
DAVID
So many secrets.
SOFIA
That's because I'm really an arms
dealer.
DAVID
I've never known an arms dealer.
SOFIA
You do now. What about you?
What's your nickname?
David freezes. And then decides what the hell - to tell
the truth.
DAVID
Citizen Dildo.
31
SOFIA
You're not staying over.
DAVID
(still stung over
nickname)
Never run a company. Stay an
artist. Stay an arms dealer.
SOFIA
Oh please. Somehow, I can't play
the violin for you.
(beat)
Although. It must be hard
controlling all those people's
lives. Everyone at that party is
connected to you for survival in
some way, it seems.
David looks at her, mentally assessing her level of guile.
SOFIA
Ever been married?
DAVID
No. Ever accept any of your
12,000 proposals?
SOFIA
(playful, self-
deprecating)
12,008.No.
DAVID
And you moved to New York. To
dance and paint and act and deal
arms.
SOFIA
Right.
(going through CDs)
Do you want to hear Jeff
Buckley... or Vikki Carr?
DAVID
Jeff Buckley... or Vikki Carr?
Both - simultaneously.
He continues looking. Flashes of the photos on her
refrigerator.
SOFIA
Everyone said "don't go to New
York." But I just think good
32
things will happen if you're a
good person with a good attitude.
Doncha think?
He regards her. He's a little restless, and a lot
enchanted. Is she for real?
SOFIA
You think I'm naive.
He decides she's for real. He turns back to the photos on
her fridge.
DAVID
No. I really don't.
DAVID (V.0.)
I dug her completely. Somehow, I
had found the last semi-guileless
girl in New York City.
SOFIA
I have to get to sleep.
Truthfully -- I'm also working
mornings as a dental assistant.
DAVID
(to himself)
Boy, am I going to the wrong
dentist.
MCCABE(V.0.)
And you didn't immediately want to
sleep with her?
DAVID (V.0.)
Well you know - I'm a pleasure
delayer.
MCCABE (V.O.)
(interested in his
romantic style)
How does that work?
DAVID (V.0.)
(toying with the shrink)
Pleasure delaying... you don't
know? You keep the relationship
casual until the absolute breaking
point.And then, one night, or
afternoon, or morning... it could
be months from now... oh, you know
how it works -
33
His vision moves across the bright blue sky of one of
Sofia's photos. A single crimson cloud.
INT. PSYCHIATRIC UNIT CELL -, DAY -- THE NEXT
WEEK/INTERROGATION # 2
David sits with the mask, facing McCabe. McCabe is hanging
on every word.
MCCABE
- actually no I don't. I've been
married for twenty-two years.
DAVID
Ah, you've got dinner with your
daughters.
MCCABE
That's right. I do.
DAVID
Back then I had intricate systems
with women you wouldn't believe.
MCCABE
Like... what...
DAVID
Hey Doc. Don't get all melancholy
over the thirty seconds you were
single a long time ago.
MCCABE
That's what you think I'm doing?
DAVID
Yes.
MCCABE
Well, you may have a point.
Let's continue. Time is not our
friend.
INT. AARON'S CUBLICLE/PSYCHIATRIC UNIT - DAY
Aaron watches David, a 17-inch television on a stool to his
right. Again, strangely, it is "To Kill A Mockingbird"
that he's watching. We hear audio from the movie through
the glass.
INT. LIVING ROOM NIGHT
David with artist's notebook in hand. Across the table,
Sofia holds the other notebook.
34
DAVID
Just our shortcomings. That's all
we're allowed to draw.
SOFIA
(confidently)
I've never drawn such a true
likeness before.
DAVID
Mine's finished.
SOFIA
Already? Hang on. Okay - done.
Sofia offers her drawing. It's a caricature of a good-
looking guy surrounded by money, cars and very thin girls.
He snatches it, studies it, and what he sees hurts him in
surprising ways.
DAVID
(embarrassed laugh)
Jesus. That's how you see me?
SOFIA
Maybe I didn't add enough money --
DAVID
No. It's wonderful. It's
something you'd see on the wall of
a steak-house in hell, but it's
wonderful. Sign it.
Sofia's face falls a bit. She sees she's hurt him. She
takes the drawing and signs it, a little guilty.
SOFIA
Let's see yours.
DAVID
No.
She grabs it. Its a rich portrait, filled with detail,
humor and style. She is rocked by its elegance.
SOFIA
Wow. I feel bad.
(regarding it carefully)
You said to draw a caricature.
DAVID
I know. I couldn't. I saw you
like that.
35
SOFIA
Well, it's very good.
DAVID
I'll sell it to you.
SOFIA
You monster. How much for?
DAVID
One kiss.
She smiles. Something is developing between them.
DAVID
That smile is gonna be the end of
me.
SOFIA
(serious)
And what happens when your friend
calls you tomorrow?
DAVID
He only met you a few hours before
me. He would do the same.
SOFIA
I see that friendship is important
to you.
DAVID
It is. But as his best friend, I
also know that he's trying to
finish a novel about inadequacy
and rejection. So the longer I
stay, the better it is for his
career.
Sofia smiles, shakes her head. And yawns.
SOFIA
Your career is one I'd worry
about.
David looks down. She's hit a nerve.
SOFIA
I'm sorry -
DAVID
No, no. You're more right then
you even know. I used to be one
of those guys who was just
36
snowboarding through his life,
with no focus whatsoever.
SOFIA
When did you change?
DAVID
(pause, confesses)
About five minutes ago.
SOFIA
(direct, slightly
whimsical)
Every passing minute is another
chance to turn it all around.
David shakes his head a little. Her words strike right to
the heart of him.
DISSOLVE TO:
INT. SOFIA'S APARTMENT - NIGHT - LATER
Sofia is asleep on the sofa. Clothes still on. David
gently strokes her hair. Television in b.g. It's one of
those late-night infomercials, and it's ridiculously
compelling. The perfect thing to bond over on a great,
lingering date.
INTERVIEWER ON T.V.
And to those who think that you're
a charlatan?
OLDER MAN ON T.V.
I understand. The perception of a
head frozen somewhere waiting for
reanimation - it sounds like
science fiction.
SOFIA
What are you watching?
DAVID
It's the greatest show... it's
called "Sofia."
Sofia looks at him and smiles. They look back to the
television.
ON TV INFOMERCIAL
A charming looking older-man discusses eternal life with a
television interviewer.
37
SOFIA
(off t.v.)
I've seen this thirty times.
DAVID
We did a story on this guy. He
owns half of Arizona.
SOFIA
Is he a fraud?
DAVID
How would you ever know?
SOFIA
Good point.
INTERVIEWER ON T.V.
Can you unfreeze a human life?
OLDER MAN ON T.V.
Take the case of Benny the dog.
Benny is a dog who was frozen for
three months, and thawed out to
live a normal life.
SOFIA
Oh, well that's comforting. It's
safe for Benny. I'm in!
David moves closer to her.
SOFIA
We better watch out.
They regard each other, and David gets up off the sofa.
It's true. The promise is too great to not savor it, and
walk away for now. Thrill remains in the air.
SOFIA
Where are you going?
DAVID
I left my number on your fridge.
He makes a courtly bow and turns. She feels the loss of
his company.
SOFIA
Come here, I want to tell you a
secret.
He pauses a moment, and turns. In this instant, a fleeting
instant, it's the oddest thing. He can see their entire
38
life together. He returns to her. Tentatively, she grabs
a quick sweet kiss on his mouth. He stays for an extra
moment, kissing just her upper lip, leaving no doubt as to
the potential of their future. And then... very close she
says:
SOFIA
I meant that to be your forehead.
David stands. He looks around the small apartment.
DAVID
Thank you for the inspiration. I
will now attempt to run my
company, showing compassion for
the seething throng of my partners
who root quietly for me to fail.
She looks at him, quite aware of his personal and business
crossroads. Silently, she roots for him like crazy.
DAVID
For things you don't even know -
thank you. I'm going to go to
work. I have a company to run.
SOFIA
Pleasure delayer.
He is still somewhat stunned by the evening, and the girl.
He actually wants to run his company.
EXT. SOFIA'S APARTMENT - DAY
David slips out onto the street. It's shabbier than the
alluring night-time version. He'd never notice, or care...
because David is a man with a brand new buzz. The city is
his. Everything good and great suddenly feels inevitable.
Life feels like a great pop song. Behind him, a car with
its lights still on starts and advances alongside. Behind
the wheel is Julianna Gianni.
JULIANNA
David Aames.
David leans on his car, turns and shakes his head.
DAVID
Julie Gianni. You're following
me.
JULIANNA
only a little. I wanted to
finish what we were talking about.
39
DAVID
And _-
JUL IANNA
How'd it work out with our Moth
Girl? Did she turn into a
butterfly for you?
DAVID
Yes she did.
JULIANNA
But I can see from your walk that
you didn't sleep with her.
David turns.
JULIANNA
Let me see if I can guess. You
haven't slept with her because...
it's more fun when you can draw it
out. Sex just isn't as good if
the woman hasn't told all her
friends she'd never sleep with
you.
DAVID
You're right on the money, Julie.
JULIANNA
She must be exhausted from trying
to be witty for you all night
long.
DAVID
Hey, Julie.
JUL IANNA
Sorry. You're just never there
for your friends until they've
already given up on you.
DAVID
I'm not blowing you off! I just
want to be alone for a little bit.
Trust me - I have a lot of things
I gotta take care of. If we're
friends, which we are, you'll
understand.
JULIANNA
(simple, honest)
I'm sorry I got weird. I missed
an audition and I just felt bad
40
you didn't invite me to your
party.
It zings him. David turns, considers her.
JULIANNA
Do you want to make it up to me?
I won't tell a soul.
Slowly, he is drawn to her. His old self rallies one last
time. He gets in the car.
INT. JULIANNA'S CAR -- EARLY MORNING
The streets are empty. She plays a CD of a romantic sweet
pop track with a feeble vocal.
JULIANNA
Would you do a story about me if I
made a CD?
DAVID
Sure I would -
JULIANNA
Do you like my music?
DAVID
(winning, truthful)
It's vivid.
JULIANNA
If I weren't me, I would buy a CD
by me.
DAVID
Well, you know, if you can reach
one person.
Julianna is a little hurt, hides it well.
JULIANNA
What is happiness to you, David?
DAVID
(considering)
what is happiness?
JULIANNA
For me, this is happiness. Being
with you.
David doesn't look at her. She speeds up, slowly.
41
JU.LIANNA
One thing bothers me. Why did you
tell Brian I was your fuck-buddy?
DAVID
I didn't tell him that. I didn't
say that.
JULIANNA
When did you stop caring?
DAVID
(watching the road)
About what --
JULIANNA
About the consequences of the
promises you made.
DAVID
Promises - I thought we had an
understanding.
JULIANNA
Do you know how hard it is to
pretend to be your "buddy?" I
love you, David. You fucked me
four times in one night. You have
been inside me and I have
swallowed your come. That means
something.
DAVID
Julie...
JULIANNA
Four times, David! That means
something. Four times.
He grabs at the wheel. She won't let go, and speeds up.
DAVID
stop the car!
She picks at things on the dashboard, as she talks with a
manic energy.
JULIANNA
Twenty-four hours a day I live
with the aching possibility that
you might call me to do something.
42
DAVID
(caring, almost. pleading)
Take me to your house. We'll talk
this out. I want to see where you
live. I want you to stop the car,
Julie. I want you to stop the
car!
JULIANNA
Don't you know, David? Every time
you sleep with someone... your
body makes a promise whether you
do or not?
PROFILE OF DAVID AAMES JR.
who turns slowly to face her. All he sees are haunted
blue eyes. He knows at the very least, there will be a
crash. She guns the accelerator. He is paralyzed, unable
to alter his fate.
JULIANNA
Tell me something, David. Do you
believe in God?
Sweet pop music swells. She bursts the barrier of the
winding road, and the car sails into an embankment of a
road below. All sound disappears, as we hear a new kind of
music. Ethereal, almost wondrous. This music continues.
TO BLACK
EXT. CENTRAL PARK - HALL OF TREES - DAY - DREAM
David walks the hall of trees. It's the gentle seductive
whoosh of a new day, the way the world sounds when you're
in love. Vibrant. Alive. Ironically rich in the beauty
we all take for granted when we're not in love. He looks
impossibly drawn forward to Sofia, who stands waiting to
meet him.
SOFIA
Hello.
He steals a kiss. They both feel like they're getting away
with something.
DAVID
You're amazing. Hello.
SOFIA
Did you get to work alright?
43
DAVID
Yeah, well, actually... I had a
horrible dream.
SOFIA
You dreamed you'd never see me
again.
DAVID
I left your house. I went to the
car, and my friend the stalker had
been following me.
SOFIA
Julie.
DAVID
Yes. She followed me down the
street. She wanted to talk, and I
had that buzz... from you and me,
and I think my mind was on that
terrible drawing of me... and, you
know, I got inside. And she drove
me off a bridge and committed
suicide with me in the car.
SOFIA
I thought you were going straight
to work.
DAVID
But I survive! I survive with my
arm and my face reconstructed.
And what's worse I couldn't wake
up.
SOFIA
(shushing)
How was your house after the
party?
DAVID
What party? A party?
SOFIA
The PARTY. Remember? Red
dress... strappy shoes... I
spilled something on your SHIRT...
sweet and sour... and the saddest
girl to ever hold a martini.
He looks at her, completely lost and spacy.
44
DAVID (V.0.)
My dreams are a cruel joke. They
taunt me. Even in my dreams, I'm
an idiot who knows he's about to
wake up to reality. If I could
only avoid sleep, but I can't.
INT. DAVID'S APARTMENT - DAY
The alarm clock goes off. A hand shuts it off. He looks
at a model plane by the side of the bed.
DAVID (V.0.)
I try to tell myself what to
dream. I try to dream that I'm
flying, something freeing. It
never works.
Viewed in shadow, he rises out of bed.
MCCABE (V.0.)
Is that the only thing that you
dream?
JARRING FLASHES/RACING THOUGHTS - DREAM SEQUENCE
Walking down a hallway, a pretty woman with red hair
beckons. On a motel floor, David writhes in pain.
INT. PRISON PSYCHIATRIC UNIT - NIGHT - (INTERROGATION # 2)
DAVID
I don't... I don't remember.
MCCABE
Do you dream about the car
accident?
INT. BEDROOM/BATHROOM - MORNING
Feet. into slippers. He shuffles down the hall. David in
the dark bathroom. He pauses, and reaches slowly for the
light. As in every previous occasion, he has been revealed
in the mirror. But today, viewed over his shoulder, we see
that the mirror is now a wooden cabinet.
DAVID (V.0.)
Here's what you remember from a
coma. Nothing.
45
INT. HALLWAY TO KITCHEN -- DAY
He shuffles down the hallway, seen from behind, a little
heavier, a wool cap on. There are no shiny surfaces around
the house. Music continues.
MCCABE (V.0.)
What happened next?
DAVID (V.0.)
What really happened? What,
didn't you read the file? I was
out for three-and--a-half weeks.
My face and arm were shattered.
My jaw was broken in four places.
No surgery could be performed
because of the coma. You can't
feel the darkness, or the
numbness, you can't even feel.
BACK TO UNIT
DAVID
And then... I came back to life.
Just like that dog, Benny. Benny
The Dog.
MCCABE
(nods, knowing)
Benny. Benny The Dog.
DAVID
Except my life was no longer
normal. There were blinding
migranes now...
INT. PRISON PSYCHIATRIC UNIT - NIGHT - (INTERROGATION # 2)
McCabe continues with David.
DAVID
. nerve damage. Why? This is
how big business operates. A
random accident. A "lifestyle
mishap?" They are not
coincidences. How do you think
air-tight contracts are broken?
These are power upheavals.
MCCABE
I'm from Ohio - we don't have
power upheavals.
46
DAVID
And they're in the news every day,
right. between the lines. Someone
did this to me. My father wrote
this in his book, you know.
Chapter One, Page One, Paragraph
One. What is the answer to 99 out
of a hundred questions? Money.
INT. LIVING ROOM - DAY
David from behind, on the phone. He strains to be casual.
His head hurts.
INTERCUT
INT. OFFICE _. DAY
Thomas Tipp, the drunk truth-telling employee, is on the
phone. David's empty office in b.g.
TIPP
David David David. I don't want
to worry you, I'm holding them
off. But we've got a situation
here. The by-laws of the Board
protect your 51% vote only if
you're mentally acute. Now I'm
sorry that poor girl died, but
you've given the Board a real gift
with your mishap. They'd like to
declare you "incapacitated." But
you are back, and you sound good
to me -• so let's fight the
fuckers._. and have a full
recovery. And maybe you should
let people see you. I mean, the
last time we were together you
were in a coma and you were very
fucking rude to me. You didn't
say a word.
Camera reveals the extent of David's facial damage.
DAVID
Yes, well, the rumors of my death
have been mildly exaggerated.
DAVID (V.0.)
Who could I trust? The ants were
taking over the ant-hill. Who
could I trust?
47
EXT. NEW YORK STREET - DAY
Sofia Serrano walks down a New York street in sensible
shoes. Just another part of the working force. To our
unseen follower, she is most beautiful when unaware she's
being watched. Shot continues parallel to her. She stops,
sees someone she knows. A truck with several panes of
glass passes by and stops in traffic. Her image blurs
behind the glass, but visible to us in the window is David
Acmes. His healing face is dotted with stubble. He wears
a wool hat. He looks noble, an assembled victim, a modern
miracle. He looks like many things. But he no longer
looks like David Aames. The truck moves through frame.
INT. HOSPITAL CONFERENCE ROOM - DAY
A dashing-looking surgeon dripping with confidence, DR.
POMERANZ, talks with David.
DR. POMERANZ
The cranial structure was based on
thirty pins fastened by small
panels and bits of bone from the
mandible... and it seems the
cartilage grafts have maintained
your cheek structure.
Unfortunately, because you were in
a coma, immediate plastic surgery
was impossible.
DAVID (V.0.)
Doctors. Their power is in
jargon. So you study up...
DAVID
Is that the procedure for all
Bilateral Periorbital Hematomas in
a LeFort III fracture of a
comatose patient?
DR. POMERANZ
(pleasantly surprised)
In a LeFort III - absolutely. The
potential for sub-cranial brain
damage was too great.
DAVID (V.0.)
. you do your best.
David consults a list he's made.
DAVID
And beyond the cheek grafts, Dr.
Pomeranz is, are the pins fastened
48
with any kind of aluminum which
could ionize and cause that
pressure in my head? Because I'm
ready for another operation.
ANGLE SHIFTS TO REVEAL
three other doctors in the room listening.
DR. POMERANZ
Yes, we are working on processes.
But it... you're specifically not
at the stage where we can
experiment --
DAVID
Experiment. Use me.
DR. POMERANZ
The headaches will go away -
DAVID
These are more than headaches.
This is like a steel plate slicing
through my every thought.
DR. POMERANZ
We're not cowboys. We can't, just
wing it.
DAVID
Because I can't think straight
most of the time.
DR. POMERANZ
We can increase your medication.
DAVID
Yes. Medication.
DR. POMERANZ
And there are things we'll
continue to investigate. But
there are so many others who've
not been able to benefit
aesthetically from plastic surgery
as you have --
DAVID
This isn't about vanity, Dr.
Pomeranz!
(keeping rage bottled)
This isn't about vanity. This is
about functioning in the world.
49
It is my job to be out there
functioning. I've got the money,
and I'll pay any amount. Invent
something. Play jazz. You say
you're the best face man in New
York City. Fucking prove it.
OTHER DOCTOR
We could do something about your
arm --
DAVID
Fuck my arm!
Dr. Pomeranz looks over to a young assistant.
DR. POMERANZ
Nobody here takes your feelings
for granted. We did prepare
something for you, based on the
preliminary examination.
DAVID
Tell me. Bring it on.
DR. POMERANZ
It's sometimes useful in the early
stages of rejection. It's a
facial prosthetic. It was two
weeks in the making.
The assistant opens a black-leather bound box. In it is
the mask - molded from David's own face, locked into a
pleasant, bland expression.
DAVID
A facial prosthetic.
DR. POMERANZ
The aesthetic replacement does
work. Emotionally, and actually.
OTHER DOCTOR
(helpfully)
And the plastic in the aesthetic
shield also filters out abusive
rays, and assists in the
regeneration of cells.
DAVID
So it's an aesthetic regenerative
shield.
50
DR. POMERANZ
That's correct. Exactly.
THIRD DOCTOR
And the ergonomics of the plate-
barrier allows it to reflexively
interact with the movements of
your own face.
DAVID
I see --
DR. POMERANZ
It's a helpful unit.
DAVID
Good. Because for a minute there
I thought we were talking about a
fucking mask!
DR. POMERANZ
(beat)
It's only a mask if you treat it
that way.
DAVID
No it's great. This completely
takes care of Halloween. But what
about the other 364 days of the
year?
DISSOLVE TO
EXT. MUSEUM OF NATURAL HISTORY BUILDING - NIGHT
Families lined up watching the ritual blowing up of the
balloons the night before Thanksgiving. Parents hug
children, detailing the magical events of an autumn night.
Sagging balloons come to life-
DAVID (V.0.)
A new form of me began to take
shape.
INT. DAVID'S APARTMENT LIVING ROOM -- DAY
David by the window of his darkened apartment. The Macy's
Thanksgiving Day Parade passes just outside his window.
The top of Homer Simpson's head floats by. We are a world
away from the lively apartment that once hosted his
swinging birthday party.
51
DAVID (V.0.)
I planned my re-emergence like the
Normandy Invasion.
Take-out boxes, catalog orders with new clothes, comic
books and magazines with ripped-out pages fill the living
room.
INT. DAVID'S APARTMENT LIVING ROOM - DAY
A memo is placed on the floor of David's living room. Shot
pulls back to see he has covered the entire floor of his
living room with memos and paperwork from Aames Publishing.
He stands regarding all of this information, stooped and
wearing his bathrobe.
INTERCUT
INT. BEDROOM - NIGHT
David stands in front of the bathroom mirror, practicing
aloud.
DAVID
Sofia. Sofia. Sofia. Sofia.
Sofia. Sofia.
INT. DAVID'S APARTMENT LIVING ROOM -- DAY
DAVID POV (V.0.)
I'll just say it - I did my
homework. I read every memo.
Thomas Tipp was right. People
will read again.
INT. APARTMENT - DAY
David stares at his screen. Disheveled, in underwear, he
eats red--vine licorice and M&Ms.
DAVID (V.0.)
I attended the monthly board
meeting of the Seven Dwarves by
video hook-up. Oh, baby. This
was war.
On screen before him, all seven, and Thomas Tipp too. Shot
moves in on screen. We can feel the cool tension of their
imminent takeover. David twitches, feels it physically.
DAVID
because nobody's buying books
let's invest... my father was
an adventurer.
52
David sits in the middle of his office. Push in on the
white tape that covers the camera on the top of the
monitors.
INTERCUT
INT. BEDROOM - NIGHT
David continues practicing aloud.
DAVID
Sofiaaaaaaaaaaa. Serrano.
DAVID (V.0.)
I grew stronger in ways I had
never known before. And on
December 5th... my planes filled
the sky... the return of David
Aames, Jr. Citizen Dildo.
INT. DANCE STUDIO - DAY
Sofia dances at the end of a long day. A few others leave
for the day, trying not to stare at David. Sofia is there
alone. For a moment, we share her solitude. She practices
ballet, twisting and turning and landing in frame, looking
just past camera. She freezes. She catches sight of
David, undisguised. And she begins dancing again. Harder.
Does she even recognize him? He moves closer, attempting
an easy-going persona. We hear nothing but the sound of
his heart pounding, in odd counter-rhythm to her dancing.
Finally she stops.
DAVID
You won't believe this... but this
is me smiling.
She laughs a little at his strange new humor, keeps a brave
front.
SOFIA
It's been a long time. I tried to
see you but your people wouldn't
let me.
DAVID
I didn't want to see me, okay.
But then I woke up today and
finally, a good hair day.
David fights anxiety, smoothes his coat.
53
DAVID
You want to go out, you want to do
something?
SOFIA
(convincing herself)
Sure.
DAVID
What?
SOFIA
Let's go out and do something.
DAVID
This weekend. I'll cancel an
operation or two. We'll have fun.
Because I am all about fun.
She kisses his cheek, pulls back quickly, and as she
exits... he sees her fighting tears.
INT. BATHROOM - NIGHT
David's mirror is restored. He studies himself. Raises
his arm higher than he has been able to. In the next room
we hear Conan O'Brien welcoming:
CONAN (O.S.)
. please welcome, Benny the Dog.
INT. BEDROOM - NIGHT
David watches Conan. The Owner of Benny sits with Benny
himself. He wears a t-shirt reading: L.E. Benny is not
the most excitable dog in town. In fact, he seems rather
spacey.
CONAN (O.S.)
I have so many questions. To
start off, tell us all just what
has happened to Benny. What's
Benny been through?
OLDER MAN/OWNER
Benny fell into the water near our
home, and was frozen in the
Skykomish River. And I went
fishing, thinking he'd gone three
months earlier', and there he was
in a block of ice, and...
David grabs the phone, and dials a number.
54
CONAN
(off the dog's
complacency)
He is thawed out, right?
Laughter on the t.v. Riding the buzz of what he's
watching, David dials.
DAVID
Hey listen, it's David. I'm back
in your life. I saw you earlier
tonight. I was just watching our
old friend Benny the Dog on... on
Conan... and I thought of you.
(laughs)
Whatever. I loved seeing you
today. So I'll see you soon.
You're a great dancer!
He hangs up and feels instantly mortified. He looks at the
phone in his hand.
TO BLACK
INT. CLUB - NIGHT
David moves into the thick of a high-energy neighborhood
dance club. He wears a facial prosthetic. In the
darkness, he doesn't stick out, not much. He spots Sofia
and Brian, chatting, waiting for him. The sight of the two
together recalls happier times. Sofia is dressed down.
Brian, on the other hand, has never looked better. His
clothes are nicer. He wears them with confidence. David
has practiced an opening joke, clapping his hands together.
He will be trying too hard, all night long.
They regard him in the mask.
SOFIA
(a little too big)
Hi!
BRIAN
(equally big)
Hey.
DAVID
What are you drinking?
SOFIA
Nothing.
55
BRIAN
I am in the mood for cheap sugary
overpriced rum-and-cokes. You
want one?
DAVID
(spreads arms)
Is there any other kind?
BRIAN
I'll go get us some -
SOFIA
Where's the bathroom?
BRIAN
Behind... over by the place next
to the door by the chick... I
mean, girl who looks like Bjork.
She leaves. David turns to Brian immediately.
DAVID
You look good, man. How's your
book?
BRIAN
Take it off.
DAVID
I can't. It's a facial shield.
It's an antiseptic prosthesis to
stop infections. These fucking
doctors.
BRIAN
(with all love)
Take off the mask! It's freaking
me out.
DAVID
I can't. It's my face. This is
my face.
BRIAN
Oh no. Trust me. It's a little
different.
DAVID
Hey, if you're embarrassed, just
go. Nobody asked you to chaperone
56
BRIAN
Sofia asked me.
DAVID
She didn't want to be alone with
me?
(Brian regrets his words)
That's bullshit. Because I think
I'm being pretty fucking cool
about the whole thing.
BRIAN
Talk to a shrink! Or you can
call me sometime, instead of
hiding in your apartment. Don't
take it out on a girl you only met
once.
DAVID
(stung)
Did she say that? I met her
"once?" Did she say I met her
"once?"
Brian looks away. He's said too much.
BRIAN
Cut it out. I miss the old you.
We all miss the old you. Because
the new guy is shit.
David turns away. The perfectly wrong thing to say.
BRIAN
Oh. Man. Wait. That came out
wrong. I love you - period.
How's your arm, man?
David shakes his head, moves toward the bar.
DAVID
Fuck you, Brian. How about no
more sympathy? How about if
that's the deal we make with each
other? Okay?
David shakes him off, goes to the bar, and rips off his
mask. His head thuds from a migraine.
DAVID
Gimme a Budweiser and a shot of
tequila.
57
BARMAN
(avoiding eye contact)
What kind of tequila?
DAVID
What did you say to me?
BARMAN
(leans closer, still
looking down)
I said - What. Kind. Of.
Tequila.
DAVID
Why don't you ask me to my face,
bitch?
The barman looks up, expressionless.
DAVID
Patron. If you have it.
ON DAVID - LATER
watching Sofia and Brian from a distance, talking as
friends.
DAVID
Another shot, another Bud.
He throws bills on the bar.
BARMAN
No. This is on the house.
DAVID
Why -
BARMAN
(odd compassion)
It just is. Bitch.
David looks across the club to see Sofia. A Clubgoer Guy
whispers something in her ear. She shakes it off. He
pounds down another shot at the bar, this time with the
Barman.
DAVID
Patron!
David regards a video monitor behind the bar. Someone's
camera is fixed on Sofia dancing with Brian, and another
good-looking Young Man. She playfully shoves the good-
looking Young Man away, not unlike the move that won David
58
over lo those many nights ago at her apartment. He pounds
back another drink.
INT. CLUB BATHROOM - NIGHT
Weaving at the urinal, David pees. Squeezes his temples to
ward off a headache.
CLUBGOER # 1
Dude, fix your face!!
The Clubgoers laugh. David laughs too. Suddenly, he feels
better.
INT. CLUB - NIGHT
David moves through the crowd, powered by a new sense of
belonging. The music swirls, and takes him along with it.
He dances wildly. In the strobing darkness, he is
anonymous, moving with the group, lost as one. David takes
the mask and pulls it over his head, backwards. In
profile, his two faces stare in opposite directions. David
sees his moment. Sofia is alone near the corner of the
club. He approaches her.
DAVID
Hello again.
SOFIA
Hello again.
DAVID
Idea. Let's start all over.
He regards her for a moment, sees her apprehension and
discomfort.
DAVID
How about if you help me? Unless
I'm horning in here -
(beat, does her)
You are. But the food is good.
He continues, taking a step.
DAVID
See, I've got a little problem.
I've got a stalker.
(does her)
It doesn't sound life-threatening.
(does himself, self-
deprecating)
I need a cover. I need for you to
pretend we're having a
59
scintillating conversation and
you're wildly entertained. I know
it's tough.
(does her, with head nod)
I'll improvise.
SOFIA
(a touch playful)
I don't talk like that.
DAVID
She's right across the room and
she's burning a hole in my back
right now, isn't she?
SOFIA
Red dress, strappy shoes?
DAVID
That's right!
Their heads are close together, looking off into the club.
David doesn't notice that Sofia is having a hard time
playing along with this game. She is overwhelmed, holding
it in. David continues.
DAVID
I think she' s the saddest girl to
ever hold a martini.
SOFIA
(about to burst)
David --
DAVID
Are you okay?
SOFIA
No.
DAVID
What's wrong? Is it me?
SOFIA
I'll tell you later.
DAVID
Come on. Tell me now.
Something's wrong. Tell me
everything. Let's talk about it
right now.
60
SOFIA
I'll tell you in another life...
when we are both cats.
David looks at her. His eyes flash at her choice of words.
Perhaps there is hope. Sofia stares at. him, worried about
his sanity as he goes overboard with his praise of her turn
of a phrase. Push into close-ups as they struggle to deal
with the discomfort of this moment.
DAVID
I don't believe you just said
that. That. is the best thing I've
ever heard. That is hilarious.
God, that just killed me. The way
you said that. See - that's what
I love about you. "I'll tell you
in another life when we are both
cats."
EXT. CLUB STREET - NIGHT
David, Brian and Sofia walk swiftly down the street in
silence. David weaves. They are anxious to pretend it was
a wonderful evening.
SOFIA
Well, this is where I leave you.
BRIAN
Wait. I'll walk you to your door.
SOFIA
No, I live just around the corner.
BRIAN
I've got my bike here.
SOFIA
I'd rather walk.
DAVID
Don't be a drag. Can't you see
she wants to go on her own?
BRIAN
Shut up, you're drunk.
DAVID
I may be an idiot, but I'm not
drunk.
BRIAN
61
SOFIA
Seriously, I don't need you to
walk me home. Thank you.
BRIAN
Okay then. So. We'll call you.
SOFIA
(unconvincing)
Great. We'll go catch a movie or
something.
SOFIA
So. We'll meet up soon.
The word sounds a lot like goodbye and they both know it.
DAVID
We'll meet up soon.
Sofia turns and runs away.
DAVID
(lacking all pride)
We'll call you again to go out
with me!
BRIAN
We'll call you.
David and Brian walk on. Brian turns back to see Sofia
running to the corner.
BRIAN
Well, it's been a real blast,
David. I bid you good evening.
DAVID
Where you going?
BRIAN
My bike. It's back over there.
We'll hang soon. Bring your mask
if you want. I'm getting used to
it.
DAVID
Wait a minute.
BRIAN
(stops)
What?
62
DAVID
(shrugs)
I don't know.
BRIAN
You drank a little too much. Call
me tomorrow if you want.
DAVID
Tomorrow I'll wish I was dead.
BRIAN
(starts in Sofia's
direction)
No you won't. You just need to
sleep.
DAVID
Hey!
BRIAN
(Brian's itching to go)
What!
DAVID
What did you say to Julie Gianni
the night of the accident?
BRIAN
What?
DAVID
You told her she was a "fuck
buddy."
BRIAN
Never.
DAVID
And she was a little more than
pissed about it.
BRIAN
(a little guilty)
Have you been harboring this shit
all along? I never talked to her.
DAVID
Whatever. I mean - who am I, if I
can't. be the one who tells you
you're not ugly? Aw, give me a
courtesy laugh. Come on!
Brian shakes his head, starts running.
63
DAVID
Brian!! I'm so fucked up. I'm
just so fucked up!
Brian stops one last time, irritated, at the far end of the
street.
DAVID
We're best friends! We're bros!
Brian needs to rid himself of David. He turns and runs in
the direction of Sofia.
David feels the deep pangs of rejection. Breathing hard.
His head hurts. His body hurts.
DAVID
Come on, man, we're bros.
Beat. He sprints down the middle of the street after
Brian.
EXT. CLUB STREET/SOFIA'S APARTMENT - NIGHT
David runs frantically, heartbroken and sobbing.
HIS MIND
Brian catches up to Sofia. She turns, relieved. They kiss
messily, hungrily. Her shoes arch to reach his height.
David runs the streets, nearing her home. The images are
tearing his mind apart. He stops and leans against a car,
unsteady and nauseous. Holding his head in pain, he
manages to run further.
David stops on the street outside her apartment. His sobs
overwhelm him. He drops to the pavement. He passes out,
mouth agape. The empty street visible in the b.g., his
hand loosens its grip on the mask.
FADE TO BLACK
WOMAN'S VOICE
Open your eyes... open your
eyes...
EXT. SOFIA'S APARTMENT -- EARLY MORNING
David is passed out, the mask is still clutched in his
hand. A Butterfly crosses frame. A hand enters, resting
on his shoulder.
64
WOMAN'S VOICE
This is a cheap ploy for sympathy.
David wakes up and looks into the kind face of Julie
Gianni.
JULIANNA
Boo!
He recoils. His vision sharpens. In the morning shadows,
with increasing focus, we see that it is actually Sofia.
DAVID
No, I'm okay -
DAVID POV
Sofia examines him with a look of concern and
understanding. Everything takes on a clear and sharp
focus. Behind her is a beautiful vanilla sky.
SOFIA
And it worked. Get up.
DAVID
Ugh -
SOFIA
(helping him up)
That's right. I agree. Ugh.
DAVID
This is a joke.
SOFIA
(touches his cheek)
David. I'm not going to lie to
you. I liked the way you looked.
But if you don't pull it together,
I'll forget the other guy. You
know that. other guy - YOU?
DAVID
(groggy)
I'm still that guy. I'm still
that guy.
Sofia speaks with rapid-fire conviction, as if she might
change her mind if she thought about it too much.
SOFIA
I don't. have a mother-savior bone
in my body. It's not about that.
You're coming inside. But if this
65
turns out to be a big mistake, I
do have the ability to fall out of
love with you -
(snaps fingers)
- like that.
She helps him up.
DAVID
I am still that guy.
SOFIA
Shut up.
DAVID (V.0.)
We created our own world together.
Us vs. Them -
DAVID
Where's Brian?
SOFIA
He went with you, didn't he?
DAVID
(shaking head at his own
paranoia)
I thought you guys hooked up.
She stops in profile with him. She's astonished at his
jealousy. Then:
SOFIA
(raw truth)
I wish you hadn't gotten in the
car with that girl.
DAVID
(a long apology is
coming)
Sofia... I'm...
She covers his mouth, nose and face. Only his eyes remain.
SOFIA
Your eyes apologized better. Come
on.
Portrait of the two, her leading him to the door, the crisp
glycerine morning overhead.
66
SOFIA
Holy God, this is going to change
my life in a zillion different
ways... I must be nuts.
DAVID (V.0.)
- and we were quite a pair. Her
believing in me. Me believing
that I deserved it.
We hear the sound of voices, human voices howling like
dogs.
EXT. PRISON - NIGHT
Prison. Human voices, howling like dogs.
INT. PRISON HALLWAY -- NIGHT
David is led down the hallway to his appointment, past many
door's with thick windows and howling prisoners. Aaron
pulls him along. They arrive at the Psychiatric Unit..
McCabe is visible, standing, deep in thought through the
door.
INT. PRISON PSYCHIATRIC UNIT - DAY - (INTERROGATION # 3)
McCabe holds his drawings, standing. David is seated.
MCCABE
I see you haven't been wasting
your time. Do you ever draw
anything else?
All the drawings are of Sofia, drawn in a similar fashion.
David is a little jumpy, a little amped.
He moves to the window. The yard is filled with prisoners.
DAVID
No.
MCCABE
Did you sleep last night.?
DAVID
No. I did not sleep.
MCCABE
I've got to leave early today, so
you'll have to be brief. Now.
What can you tell me about the
name "Ellie?"
DAVID
Ellie?
MCCABE
Is that a girl you knew? A girl
you were in love with?
DAVID
I've only been in love once.
MCCABE
Apparently, you kept repeating it
last night. You did sleep, David,
and your advisor said you cried
out, you had a nightmare.
DAVID
Everything is a nightmare --
MCCABE
You cried out for "Ellie," David.
Do you remember what happened?
DAVID
No... no...
MCCABE
Dig deep, David. Dig deep. You
cried out for Ellie. What do you
remember about Ellie? Show me
your face, David. Help me. Open
the door.
David rises and goes to the prison window.
ANGLE ON McCABE
In powerful framing, lower shot capturing him powerfully.
MCCABE
(digging deeper', aching
to help)
It's true you had an accident.
It's true you were disfigured, but
not anymore. Do you remember?!
(with certainty)
They did fix your face. Take off
that mask, David. You'll see your
face is perfect under there.
DAVID
I never trusted the Doctors. What
happened next was surreal. That
same arrogant bastard, Dr.
68
Pomeranz, called me and suddenly
he was my new best friend.
SHOT OF DR. POMERANZ
friendly with outstretched hand, standing in front of x-
rays
DR. POMERANZ
(warmly)
David! Hey, my brother. I felt.
really bad about our last
conversation.
CLOSE ON DAVID
DAVID
He'd discovered a new form of
reconstructive surgery, with the
help of a doctor from Berlin.
ON DOCTOR FROM BERLIN
who bows to camera.
DOCTOR FROM BERLIN
Hello.
CLOSE ON DAVID - CONTINUED
DAVID
The next thing I knew they shot me
full of drugs I'd never heard of
and away we went.
INT. SURGICAL THEATRE -• DAY
David is wheeled down the hallway on a stretcher. He is
high on tranquilizers, singing "One of Us." The doctors
are all smiles.
DAVID(SINGING)
what if Gawd was one of
ussssss... "
DAVID(V.0.)
The odds, they said, were one in
three that the headaches could be
reduced by 50% and facial tissue
could be regenerated.
69
INT. SURGICAL THEATRE - DAY
David is strapped onto a plank headed for a metallic
capsule. We hear odd noises and see high--tech details of
the operation. Laser beams criss-cross his face. Shot
moves to the video playback of the operation with this
legend beneath: Capture. An assistant doctor captures
Polaroid frames.
DAVID (V.0.)
I couldn't tell you what they did.
It seemed like science fiction to
me.
DOCTOR (V.0.)
He's going to be one good-looking
guy when I'm done.
A Polaroid still of David in mid-operation rolls out of the
print-machine.
DAVID (V.0.)
Obviously, I was suspicious.
Wouldn't you be?
INT. PRISON PSYCHIATRIC UNIT - NIGHT - (INTERROGATION # 3)
David and McCabe both sit against the wall. McCabe listens
intently.
MCCABE
Suspicious of whom? Of what?
DAVID
Once you've been driven off a
bridge at 80 miles an hour,
somehow you don't invite happiness
in without a full body search.
MCCABE
Well, at the risk of boring you, I
can present the alternate
argument. I once knew a guy who
was a real loner. And one day he
woke up at 40, with two daughters
who lit his life up with purpose.
Suddenly he goes to endless school
plays, he gets home at 9:20 for
the evening discussion, and he has
the time of his life. His
favorite Beatle was once John, and
now it's Paul.
70
DAVID
I always liked... George.
MCCABE
It all depends on the individual,
doesn't it? Tell me. What's
happiness for you?
INT. JULIANNA GIANNI'S CAR - DAWN - FLASHBACK
JULIANNA
What's happiness to you, David?
INT. PRISON PSYCHIATRIC UNIT - NIGHT - BACK TO PRESENT
DAVID
How about another question -
MCCABE
Well, you won't show me your face.
So back to the time-line. Hurry.
Let's move through this.
INT. DAVID'S APARTMENT - DUSK
There is tension in the air. David's face is covered in
high-tech facial plates. He sits at a table near the
window. Sofia stands.
SOFIA
You've got to take the plates off,
David.
DAVID
I don't want to know what's under
here.
SOFIA
It's going to be fine, you'll see.
DAVID
I already called Pomeranz and
switched it to Wednesday.
SOFIA
I hope that shrew at the front
desk gave you shit about it.
DAVID
I'll go in the morning. The
car'll be fixed.
She advances, takes his face in her hands. She tugs at the
corner of one of the plates.
71
SOFIA
Good, because I know that the
problem wouldn't be you delaying
something you were dreading.
DAVID
Couldn't be that.
SOFIA
Nooooo, it couldn't be that.
She pulls off one of the plates.
SOFIA
I mean, I agree, it's very
important to have...
She pulls off another one of the plates. She grows a bit
emotional.
SOFIA
. the right car...
She pulls off another one of the plates. Tearing slightly.
SOFIA
. to take you where you want to
go... 24 hours a day...
Quadrant by quadrant, his face is restored to a pale-
skinned and tender... perfection.
DAVID
How bad is it?
SOFIA
Well, your ears are in the right
place. And the rest of it is...
not too bad at all.
Tenderly she kisses, and hugs him.
INT. DAVID'S APARTMENT -- DUSK
Sofia and David make love, looking into each other's eyes.
SOFIA
Do you love me? I mean, really
love me... because if you don't,
I'll just... have to kill you.
DAVID
In my next life I want to come
back as this mole -
72
(points out mole between
her breasts)
- seriously, this mole. I mean,
you'll have to wear bikini tops to
work, or loose-fitting shirts so I
can breathe, but -
SOFIA
I love you. I love you. I love
you.
DAVID
- I could live right there.
SOFIA
Is this a dream?
DAVID
Oh absolutely.
She grabs his face, kisses him... a powerful moment, like
few others in this life.
EXT. VILLAGE STREET - DAY
Portrait of the couple together, moving down the middle of
the street on fresh snow.
DAVID (V.0.)
We talked about the big things,
the little things, and the big
things. But in truth, with Sofia,
it was the in-between times.
INT. FLORENTINE'S BAR AND GRILL - DAY
Sofia laughs. A perfect laugh. David admires her, sits
next to her, holding her hand. Theirs is the unmistakable
closeness of a couple in the first real throes of a sexual
relationship. They share a giddy open secret. Across the
table, we reveal Brian. He's got a tiny high-tech camera.
Sofia speaks sweetly and passionately to David in Spanish.
David replies knowingly - "si" - every few words. It's a
deep communication. She exits.
BRIAN
What, did she say?
DAVID
(in love)
I have no idea.
Brian shakes his head.
73
DAVID
How's things, Brian?
BRIAN
Fine.
David's face is huge in the Brian's viewfinder.
DAVID
How's things, Brian?
BRIAN
Don't flatter yourself. I'm fine.
Besides - Sofia is great, but by
no means one-of--a-kind. She was a
proximity infatuation.
Brian, naturally suspicious and somewhat jealous, spots a
writer at a nearby table making notes.
BRIAN
(to writer)
And don't use that, it's mine.
The writer looks busted.
DAVID
Where'd you get the camera?
BRIAN
I'm into things... you have no
idea.
DAVID
Well, as long as you're okay.
BRIAN
And anyway, we're friends, aren't
we?
DAVID
Always.
David offers his hand. They shake.
DAVID'S POV
David's gaze moves to a 40 year-old man staring at him with
a bemused smile. A plate of food sits in front of him.
His eyes suggest a piercing intellect, he looks at David
with deep familiarity. David can't quite place the face.
74
BRIAN
Hey what's up with your face?
Fuck, there's a seam opening or
something!
DAVID
(mounting horror)
What - what are you talking about?
Brian laughs. The spell is broken. Friends again.
DAVID
You asshole!
INT. DAVID'S BATHROOM - NIGHT
David sleeps next to Sofia. He sits up, takes a glass of
water from the night-stand, admires his girlfriend and
moves to the bathroom.
INT. BEDROOM/BATHROOM - NIGHT
He turns on the light, fills the glass with water. Looks
up into the restored mirror. His face is disfigured. He
recoils in terror, knocking against a towel rack, sinking
to the floor and grabbing a look at a shiny surface on the
lower cabinet.
Sofia bolts upright. She sees him on the floor across the
room, sees his face and backs up in the bed, leaning on her
arm, screaming.
INT. DAVID'S BEDROOM - NIGHT
He awakens suddenly. Sofia is next to him, smiling.
SOFIA
Was I snoring?
DAVID
(still breathing heavily)
No, I think it was me. Thirsty,
that's all.
She kisses his hand reassuringly.
SOFIA
I'm dreaming about you. Mmmmmmm.
He gets up and goes to the bathroom.
75
INT. BATHROOM
Tentatively, he flips the light on. A very relieved David
regards his restored face. He shuts off the light quickly,
and fills the glass of water. Splashes some water on his
face.
INT. BEDROOM
David climbs back into bed.
SOFIA
DAVID
(small laugh)
I could listen to you say "mmmmm"
for the rest of my life.
SOFIA
They kiss. The kiss expands, as he moves to the back of
her neck. He caresses her body. She kisses his
fingertips. Her back to him. Tangled in sheets, they ease
into lovemaking with the perfect fit of two bodies meant
for each other. He gently grabs a handful of her hair.
His hand stops. It's not Sofia's hair. He slowly turns
her face to his, and we glimpse David over the shoulder of
the woman who is not Sofia. He leaps out of bed, falling
to the floor, the sheet tangled around him. He turns on
the light.
Julie Gianni hides her face from the light, like a night
animal caught in the intrusive glare of day.
When she speaks, it is with Sofia's cadence and accent.
JULIANNA
(scared, uncomprehending)
Baby, what's wrong?
He gasps for breath, backing away. Totally terrified.
Paralyzed. In a low voice:
DAVID
Where. Is. She.
JULIANNA
Who?
His instinct is to protect his lifeline Sofia - and he
pounces on her with a manic will to survive.
76
Julie Gianni looks a little loopy, almost stoned.
Taunting.
JULIANNA
(taunting, sweet)
I'm Sofia.
INT. BEDROOM -- NIGHT - MINUTES LATER
David dismantles the phone, takes the cord. He ties her
willing hands to the posts of the bed. She protests oddly,
like an actress playing a part.
DAVID
Now I'm going to make sure that I
tie this four times. Do you know
why, Julie? Because four times
really means something.
David pulls his pants on, frantically opens the wardrobe
closet. No Sofia. Goes to the kitchen. No Sofia. Julie
sobs quietly, sweetly, tied to the bed. She behaves and
acts like Sofia.
JULIANNA
David, don't hurt me.
David returns and sits across from her on the bed,
terrified and barely hanging on.
DAVID
Okay, I'm freaked out. It worked.
So just tell me right now - where
is Sofia?
JULIANNA
I am Sofia.
DAVID
In one minute I'm going to call
the police --
JULIANNA
(heart breaking)
Don't do it, honey.
DAVID
I knew you'd survived the
accident.
She looks at him with tearful eyes.
JULIANNA
What. accident?
77
DAVID
Whose body was it? Who's the one
who hired you? The Seven Dwarves?
JULIANNA
I haven't had any accident!
DAVID
No, of course not. It wasn't an
accident at all. It was attempted
murder!
JULIANNA
Honey, please.
He picks up the phone. Dials 911.
DAVID
Police Department? I've captured
an intruder who's entered my home.
He turns to her. Her eyes are yearning.
INT. POLICE STATION/INTERROGATION ROOM - NIGHT
The flash of mug shots. We see David sitting, sweating,
agitated waiting in a Police station holding room.
Suddenly, the door opens and Thomas Tipp enters, flanked by
other Detectives.
TIPP
Guys, can you give us a minute
here? Detective Larson...
Detective Andrews... thank you.
The room empties, and Tipp approaches David.
DAVID
They think that I had something to
so with this.
TIPP
I'm going to handle this exactly
the way your father would have
handled this. I've got it solved.
DAVID
You've got it solved? Where is
she?
TIPP
She's going to be fine.
David hugs Tipp.
78
DAVID
Thank God you're here, man. I
love her.
TIPP
Yeah... Now, I want you to look
at these photos and then I'm going
to destroy them. Sofia's
testimony is also in here. It
won't exist. She's not going to
press charges.
DAVID
Press charges against. me?
TIPP
David, wake up. As your friend, I
think you should see what you did
to Sofia. The press won't get
hold of this if you get. away
quickly.
David leans back in his seat. It's all of them - everybody
- against him. Tipp opens a file thick with paperwork, two
computer discs and photos. He displays a photo to David,
moving it into the light so he sees it clearly. Julie
Gianni, battered.
DAVID
This is Julie Gianni. That's not
Sofia. This is Julie Gianni. I
didn't do that do that to her.
(beginning to shut down)
Tommy, someone's setting me up.
TIPP
David, the Board and I have taken
care of everything. They've been
really great, actually. All of
this is going to disappear. We're
all behind you... even the Board.
David looks at Tipp. It's very clear now. He's one of
them. David attempts calm.
TIPP
(quiet, helpful)
Get out of here.
A migraine is thundering in David's head. His world is
spinning backwards.
79
INT. POLICE STATION -• NIGHT
David strides down the hallway. A Man in a crystal blue
sport coat stands, waiting. As David passes, the Man
confides a single line - as if smuggling out a valuable
secret. Voices from other rooms, including a small child
saying: "Mommy, mommy."
MAN IN BLUE COAT
This is a revolution of the mind.
INT./EXT. POLICE STATION - NIGHT
Exiting, David is intercepted by a furious Brian.
BRIAN
You're in fucking sad shape, man.
Don't fucking ever hit a girl,
man. Hit me, but don't fucking
EVER hit a girl.
David looks up -- sees a small security camera trained on
them - pulls Brian out of the station.
DAVID
It wasn't Sofia. It was Julie.
BRIAN
Oh... it was Julie Gianni. So,
Sofia was abducted by Julie, and
now Julie is posing as Sofia.
DAVID
Yes.
BRIAN
You're in O.J. land, man. Julie
Gianni is fucking dead!
DAVID
I don't know what the cops have
told you, but let me assure you -
Julie Gianni is alive alive ALIVE.
BRIAN
I didn't talk to the cops. I
talked to Sofia!
DAVID
Where is she?
BRIAN
I just dropped Sofia off. And I
saw everything you did to her.
80
DAVID
Let me tell you something - I did
not do that to her. Look me in
the eye and tell me that it was
the same girl you brought to the
party. Tell me it was your dream
girl, your "proximity
infatuation."
BRIAN
(raw, finally)
Yes! And you stole her from me!
David backs away, as Brian responds bitterly, from his
heart.
BRIAN
The one girl I really wanted, and
you took her from me. You're
insane. You're losing it, man.
David nods powerfully. He now understands. Brian is one
of them too.
DAVID
You have revealed yourself.
BRIAN
Oh yeah, I'm with them.
DAVID
Where'd you get the coat, Brian?
Where'd you get the camera? How
much did they pay you?
BRIAN
Listen to me, 'cause it's the last
time we're ever gonna speak. I
was your only friend.
DAVID
You have revealed yourself to me.
INT. FLORENTINE'S - NIGHT
David nurses a drink, still breathing heavily. He's been
crying. His head aches with this thought - maybe I am
insane. A man in a classy suit walks towards him, inviting
himself to sit at the table. His bedside manner is
impeccable. His smile offers infinite compassion. He was
the man staring at. him in this same restaurant. He is
EDMUND VENTURA.
81
VENTURA
Problems?
DAVID
(takes a sip)
I'm in no mood to be fucked with.
So do yourself a favor and le -
VENTURA
There's an explanation for all
this, David.
DAVID
Who the fuck are you?
VENTURA
You and I know each other. You
found me on the Internet.
Silence. David stares at the man.
DAVID
What do you want? Why are you
following me?
VENTURA
I'm here to help you. And first
of all, it's very important that
you calm down.
DAVID
Calm down?
VENTURA
You must overcome your fears and
regain control. Take hold of your
life again. It's as easy as
holding that glass. What if I
told you that you can take control
of all of this... everything...
even me...
David turns to him.
DAVID
Look. I'm straight, okay?
VENTURA
David, look at these people. It
seems as though they're chatting
away, doesn't it? Nothing to do
with you -
82
David listens, as he looks at the spirited Saturday night
crowd, lost in their revelry.
VENTURA
-- and yet, they might only be here
because you wanted them to be.
You are their God. And not only
that, you could make them obey
you... or even destroy you.
David shakes his head, exhausted and in no mood. He shuts
his eyes, fights off a headache.
DAVID
(cutting him off)
What I'd like them to do is shut
up! Especially you!
Silence. David opens his eyes. They're all staring at
him. Casually waiting for orders.
VENTURA
You see?
David looks at him with horror, backing away. Receding in
his vision:
VENTURA
You and I signed a contract,
David.
INT. PRISON PSYCHIATRIC UNIT - DAY - (INTERROGATION # 4)
McCabe is taut, following the thread. His voice calming.
MCCABE
Who is the man in the restaurant?
Who is it?
DAVID
I can' t. --
MCCABE
Can you tell the difference
between dreams and reality?
DAVID
Of course. Can you?
MCCABE
Think about it. Think with your
head. You signed a contract, did
you not.?
83
RACING THOUGHTS
A woman walks down the hallway, looking back. Flash of
papers signed.
DAVID
I signed something.
MCCABE
Was the man at the restaurant
there?
McCabe's voice becomes infinitely calm and helpful.
DAVID
Fuck!
MCCABE
Accept your body's resistance.
Let your head answer.
DAVID
Yes.
MCCABE
That's right. Who is Ellie?
DAVID
I... I don't know what's real.
MCCABE
What happened that night, David?
Somebody died.
DAVID
I don't want to remember.
MCCABE
Do you understand that you hold
the keys to this prison?
DAVID
It wasn't Sofia.
MCCABE
Who was it?
DAVID
No.
MCCABE
Who was it?
84
DAVID
No!
MCCABE
You want to let it out, don't you
David? You're about to tell me.
Tell me what your heart and soul
will not allow you to forget.
David shudders. It's coming.
MCCABE
Did you kill Sofia?
McCabe stands tall, stunned and curious, still pressing to
pull the nightmare out of him.
INT. SOFIA'S APARTMENT - DAY - FLASHBACK
The clown figurine on her stove-top falls over as we hear
the front door kicked in. David enters, slamming the door
behind him. He looks around what was once the site of such
happiness. The same details he'd glimpsed long ago are now
horrifying to him. He looks at a photo on the
refrigerator. The same note: Call Dad! The exact
expression, exact photograph he'd seen on his earlier
visit. Now it is Julie who is in her place.
He opens her drawer. Just some papers. And then... the
drawing he'd once done of her. Now featuring Julie. He
rips up the drawing, and proceeds to destroy the apartment
until he stops, collecting himself. Takes a breath and...
Smash. A lamp is broken over his head. Julie Gianni bends
down to help him. A shard of the lamp-base is still in her
hand. Julie's whole demeanor is that of a different girl.
Even her voice is softer, almost exactly the knock-around
sweetness of Sofia.
JULIANNA
I thought you were a vandal.
DAVID
(with difficulty)
Who... are... you?
JULIANNA
I'm Sofia.
DAVID
You are not Sofia... you're not
Sofia...
85
JULIANNA
I'm Sofia.
DAVID
Whatever.
Julie starts to cry. Battling tears, she offers her heart
and soul.
JULIANNA
David, honey. This will all be
over soon. We'll be together
again. You'll forget Julianna and
I won't be afraid of you. Let me
get you a cold towel.
She exits. He struggles to rise. His head is a swirling
mess. And then:
ON KITCHEN DOORWAY
Sofia slowly returns with towel. Her image still blurry.
David advances, and faints into her arms.
DAVID
Sofia?
SOFIA
(whispers)
Yes, David, I'm Sofia. I'm Sofia.
He accepts it, all of it, whatever it is, just to hold her.
They kiss, gently, then more powerfully.
INT. SOFIA'S BEDROOM - DAY
They make love, emotionally and deeply. Two bodies
yearning to possess the other. Camera moves across their
bodies, as David wipes frame to black, as the move
continues onto her back.
DAVID
Where were you...
Sofia doesn't answer, doesn't want to lose the moment.
DAVID
I don't want to know.
(thrusting)
Just tell me you love me.
David keeps his face buried in her shoulder'. He doesn't
want to look. The passion gives way to a mounting dread,
as he hears a voice almost like Sofia's.
86
JULIANNA (O.S.)
I love you. I'm afraid of how
powerful this is.
He continues moving passionately, harder now. Julie
responds to the overwhelming surge within David. She gives
over to the waves of dark pleasure, riding him like a
rocket. from hell. Harder now. Grabbing her hands and
pulling them high above her head, clamping down with his
own.
Julie Gianni cries a deep, guttural sound of passion.
This is what someone sounds like when they're not faking
it. And then... slam... a pillow comes down over her face.
DAVID
What the fuck is happening?
Julie begins to react to what is clearly no longer an
advanced lovemaking session.
DAVID
I want to see your face!
She grabs at the pillow.
DAVID
I want to see your face!
David reaches orgasm, sobbing, recklessly out of control.
Julie's body stops kicking and settles into silence. He
loosens the pillow, and is rewarded with one last violent
attempt at life. Her hand smacks his neck. He's so taut
it bounces off. She grabs at his face one last time, her
hand is left with enough power only to caress his face.
She goes limp. Silence. David's crying turns to a
whimper. He looks at the pillow over Julie's head. He's
confused, a puddle of jagged adrenaline. He doesn't want
to remove the pillow for fear of who could be underneath.
He rises up, his elbow across her lifeless chest. With
true horror, he knows he has to move his hand, but his hand
will reveal who he's just killed.
ON HER TORSO
as his arm moves inexorably away from her chest. Quarter-
inch by quarter-inch he inches it downward, across the top
of her breasts... dreading the inevitable, not seeing it,
and then... there it is. The mole between her breasts.
INT. HALLWAY STAIRS - DAY
David exits hurriedly, past some tenants, down the stairs.
He looks up at his own reflection in the hallway mirror.
87
He looks horribly disfigured. We hear the sound of
breathing, encased in a mask.
INT. PRISON PSYCHIATRIC UNIT - NIGHT - (INTERROGATION # 4)
McCabe sits across from David. McCabe looks away, haunted
by the admission of guilt.
DAVID
I did it, didn't I? I don't...
feel... like I killed someone. I
feel like...
MCCABE
David, who...
DAVID
I'm in a dream...
MCCABE
. was the man at the restaurant?
David shakes his head.
MCCABE
(pained)
Sometimes the mind behaves as if
it were in a dream. Faces change,
people become other people. The
subconscious is a powerful thing.
You treated Julie carelessly,
didn't you, David? Your feeling
of responsibility or guilt over
Julie might have easily turned
Sofia into Julie.
(pause)
Do you know what derangement is?
DAVID
I need your help.
MCCABE
All I know is, you killed your
girlfriend and I don't know what's
in your mind.
DAVID
I need your help.
MCCABE
I'd work on this case forever if I
could, but we've run out of time.
88
DAVID
What will you plead?
MCCABE
Temporary derangement. It's your
best chance. They won't believe
me.
DAVID
What do you believe?
MCCABE
Believe it or not, I care about
you. You've become like family to
me. I don't want to give up on
you.
David looks at, him oddly. Suddenly, the archetype seems
very familiar. McCabe continues with the noble concern of
a towering father figure.
MCCABE
(continued)
But I needed more. I needed an
answer. I... I even thought there
was more than a good chance
someone was playing tricks on you.
Maybe it was the board. But I
can't exceed my duties here. I'm
just a psychologist, and I have to
leave you.
DAVID
Will I see you at the trial?
MCCABE
No. I'm just the opening act.
He exits. David sits at. the table as McCabe and Aaron
exit. He hears Aaron's television; it's the Life Extension
Infomercial.
INT. AARON'S CUBICLE - NIGHT
Through the glass of the psychiatric unit, we see McCabe
and Aaron exit. Only Aaron's television, sitting on a
stool, remains. Push in on the television, which is
playing the L.E. Infomercial.
Push in on the reverse. It's David at the window as he
realizes the true meaning of "Ellie" -- L.E. He bangs on
the glass, at first slow, then faster, yelling for McCabe.
The L.E. Infomercial and Benny the Dog are reflected on the
window.
89
DAVID
McCABE!!! McCABE!!! COME BACK!!!
COME BACK!!!
INT. PRISON CORRIDOR - DAY
McCabe hustles down the hallway with David. McCabe stands
tall, moving forward, like Atticus Finch with Tom Robinson.
INT. CAR
McCabe watches David closely. Aaron the Guard turns to
look at David behind the glass partition that separates
them. David looks out the window at the world he's missed.
EXT. PLAZA - DAY
The police vehicle pulls up in front of a crowded business
plaza. McCabe exits with David. Always watching his every
move, his every revelation. David looks upward at the
towering skyscraper in the center of the plaza, rising high
into the sky.
INT. SKYSCRAPER - DAY
A Building Guard guides them through the lobby. McCabe
trained on David. A look between the two. A Building
Guard intercepts them.
MCCABE
(to Building Guard)
Life Extension Corporation,
please.
GUARD
What -
MCCABE
(a look to David)
L.E. We hold a court order.
DAVID
I think I've been here before -
McCabe strides purposefully past the Building Guard. Aaron
shows the pass, and hustles to keep up.
INT. SKYSCRAPER-63RD FLOOR/L.E. OUTER OFFICE AND HALLWAY-
DAY
The elevator door opens to reveal a very pleasant and
peaceful environment. Comfortable lounging chairs. On the
reception station is written - L.E. and underneath it the
words: Life Extension Corporation. Two more Guards meet
90
them. McCabe watches David, as Aaron releases him from the
handcuffs. The group moves together. Senses are
overwhelming David, as they approach the reception station.
DAVID
Her name is Libby.
A stunning young woman rises and moves to greet them.
LIBBY
Good morning. I'm Libby. I'm
here to assist you.
Libby stares at David's masked face. It's slightly
unsettling to her.
MCCABE
He's my son. He's very shy.
LIBBY
(smiling professionally)
You're not. with the media or part.
of any legal consortium, correct?
MCCABE
No.
LIBBY
Welcome to Life Extension. Have a
look at our proposal. Please
follow me.
She-offers them two bound folders featuring the logo - L.E.
- and guides them down the hallway, looking back with great
style, beckoning, just as in David's dream recollections.
MCCABE
(to Aaron)
You can wait out here.
LIBBY
You'll be meeting Rebecca
Dearborn.
(aside)
My personal role model.
ON HALLWAY WALLS
Containing monitors with video-taped "tour guides."
Talking heads expressing the convictions of Life Extension.
Compassionate, expressive people. The bits of their
testimonials echo phrases from David's own life.
91
PATIENT #1
.and I'm not a "true believer"
by nature. But the older you get,
the more you see the flow of the
future, and I made a choice...
PATIENT #2
.why not embrace the future? I
Believe the research - the future
is in the union of the
spiritual... and the scientific...
Annoyed at everything around him, McCabe pulls David
onward.
INT. LIFE EXTENSION OFFICE - DAY
Aames and McCabe sit and wait in a warm wood-paneled
office, proposals in hand. A glimpse shows words like Re-
Evolve and Re-Experience, peppered with colorful photos of
simple, life-affirming portraits of everyday life. It's
well-appointed and well-marketed organization.
McCabe regards David as the victim of a lunatic's scam.
Injustice fuels McCabe.
MCCABE
(continuing, scoffing)
"Cryonization - a journey of re-
awakening after the preservation
of the human body at extremely low
temperatures."
DAVID
They laughed at Jules Verne too.
MCCABE
(a little sadly)
David, you're not-
Account Liaison REBECCA DEARBORN enters with paperwork.
She is an electric presence. Efficient, caring and oddly
compassionate.
DEARBORN
Mr. McCabe, how are you? I'm
Rebecca Dearborn.
(quick notice of mask)
Life Extension, or L.E. as we like
to refer to it, is a glimpse of
the future... a ticket... not in
the juvenile sense, but in the
deeply meaningful sense that can
only be borne in the human heart.
92
The DNA codes of the human body
have been broken. Soon, heart
ailments, cancer and so much more,
will be a thing of the past. Very
simply, your anguish... your
discontent... even your death is
no longer necessary in a
traditional sense. Whatever
malady that hides behind that
mask... is temporary.
She looks directly at David, and it stirs him. McCabe
studies her, and the operation. He thirsts for clues.
David flips through the folder - toward the back, a panel
of photos of storage tanks. Lavishly and warmly
photographed, just like next year's cars in a magazine.
DEARBORN
Within an hour of your passing,
L.E. will transfer your body to a
vessel where you will be sealed
and frozen at 196 degrees below
zero. Power outages, earthquakes,
nothing will effect your
suspension-hibernation.
MCCABE
Did you sign this contract, David?
David looks down at pamphlet, looks up.
DAVID
What's the "Lucid Dream" option?
DEARBORN
Good choice. The Lucid Dream is
Life Extension's newest option.
For a little extra, we offer the
cryonic union of science and
entertainment.
MCCABE
(rueful, skeptical)
"Cryo-tainment. "
Dearborn spreads apart the paperwork on her desk to reveal
a thin Video Monitor built into the glass table-top. Aames
and McCabe peer into the table--top as Dearborn presses
play.
DEARBORN
Some find this presentation
helpful.
93
INTERCUT
ON MONITOR - THE PRESENTATION
An appealing presentation begins -- Man's Life. A generic
happy-looking Man with graphics floating out of his mouth:
Re-Emerge ... . Re-Store .Re--Invent...a voice takes over for
Dearborn. A wonderfully comforting tone is present in the
narration. Like that of a parent.
NARRATION
Portrait of a modern human life.
American, male.
(highlighting stage)
Birth.
(highlighting another
stage)
and Death. Imagine that you
are suffering from a terminal
illness. You'd like to be
cryonized, but you'd rather be
resurrected to continue your own
life, as you know it now. L.E.
offers you the answer. Upon
resurrection you will continue in
an ageless state - preserved - but
living in the "present" with a
future of your choosing.
VIDEO MONITOR -- THE PRESENTATION
Push in on a door that opens to a panel of steel
compartments. Music and atmosphere are seductive and
compelling.
NARRATION (CONT ' D )
Your death will be wiped from your
memory. Your life will continue
as a realistic work of art,
painted by you, minute-to-minute.
And you'll live it with the
romantic abandon of a summer
day... with the feeling of a great
movie, or a pop song you always
loved. With no memory of how it
all occurred, save for the
knowledge that everything
simply... improved. And in any
instance of discontent, you'll be
visited by Technical Support.
94
VIDEO MONITOR - THE PRESENTATION
Shot of Edmund Ventura holding a Life Extension folder in
his arms. Graphic reads: Tech Support.
NARRATION (CONT'D)
It is all just around the corner,
the day after tomorrow.
MONITOR - THE PRESENTATION
The words: LIFE, PART TWO drift onto the screen, obscuring
the phase marked: Death.
NARRATION
Another chapter begins seamlessly,
a living dream. Life Extension's
promise to you. Life -- Part Two.
DEARBORN
A living dream.
MCCABE
Your death will be wiped from your
memory. I guess I missed that one
in USA Today.
David sits, reeling from the revelation he may be living a
Lucid Dream.
DAVID
. a dream... What if there was a
mistake? What if the dream became
a nightmare?
DEARBORN
Of course, your subconscious can
always play tricks on you. The
subconscious is a very powerful
thing -
SIDE-ANGLE CU MCCABE
Sits forward. He turns to David with great strength,
worried for him.
MCCABE
Did you sign a contract with these
people, David?
DEARBORN
(continuing)
-but this is a serious business.
The Lucid Dream is worth the risk.
95
And what is any life, if not the
pursuit of a dream? The dream of
peace. The dream of achievement.
The dream of hearing someone
saying these words, when they
truly mean them.
David is deeply moved as he listens. Somewhere, music
begins to play. It is The Beach Boys' "Good Vibrations."
DEARBORN
I love you, David. Te Quiero.
Roam free, David. Most of us live
our whole lives with no real
adventure to call our own. It's
hard to comprehend-but they
laughed at Jules Verne too.
DAVID DEARBORN
This is a revolution of the This is a revolution of
the mind. mind.
CLOSE FRONTAL SHOT OF DAVID AAMES
David pulls off his mask. He runs out.
INT. LIFE EXTENSION CORRIDOR - DAY
David storms around the corner from Dearborn's office,
yelling, raving.
DAVID
I want to wake up! I want to wake
up!
Aaron grabs for him. David wrenches free.
DAVID
TECH SUPPORT!
David runs down the corridor and into the elevator, Aaron
chasing after him.
DAVID
It's a nightmare!
The doors shut. Music rising.
INT. EMPTY LOBBY - DAY
David runs out of the elevator, into the empty lobby. Shot
cranes up to reveal he is utterly alone, reminiscent of the
much-earlier Times Square shot.
96
DAVID
Tech Support!!
Music stops. We hear the ding of the elevator.
CLOSE ON DAVID
Who turns and approaches the elevator, exiting frame.
INT. ELEVATOR - DAY
David enters the elevator to see Edmund Ventura, calmly
waiting.
VENTURA
David Aames. I think it's time we
had a proper re-introduction. I'm
Edmund Ventura from the oasis
Project, formerly Life Extension --•
L.E.
DAVID
Tech support.
VENTURA
Yes, I'm your Tech Support. We
first met 150 years ago.
DAVID
Oh shit. You sold me the Lucid
Dream.
Ventura smiles.
DAVID
Well, what the hell happened?
VENTURA
I tried to warn you in the bar. I
told you to exercise control, that
it all depended on your mind. All
of this, everything is your
creation. And we're now heading
toward your true moment, of choice.
DAVID
"True moment of choice?"
VENTURA
Yes.
DAVID
When did the Lucid Dream begin?
97
VENTURA
Remember the day of the nightclub?
DAVID
(trying to remember)
Yes.
EXT. SOFIA'S APARTMENT -- NIGHT - FLASHBACK
David is collapsed on the ground. His mask clutched in his
hand, passed out. Rhythmic score.
VENTURA
(with importance)
That night, when Sofia left you
and you fell asleep on the
pavement, that was the moment you
chose for the splice...
DAVID
(remembers the word)
The splice?
FADE OUT ON MASK
The mask has tumbled out of his hand.
VENTURA
Splice. The end of your "real"
life and the beginning of L.E.'s
Lucid Dream. A splice of many
years which passed while you were
frozen and dreaming.
FADE UP ON MASK
A moody day dawns. David's mask is just outside the reach
of his outstretched hand.
ON DAVID PASSED OUT ON STREET
Sofia's hand reaches in, and awakens him. Everything is
suddenly a little more vivid, a little more super-real.
SOFIA
Open your eyes.
They walk away, down the street, into a beautiful Vanilla
Sky. Sofia slips her arm around his shoulder, as we've
seen earlier.
VENTURA
From the moment you woke up on
that street, nothing was "real" in
98
a traditional sense. Your Lucid
Dream is monitored by Life
Extension, and a panel of experts
who follow your every thought.
Even at this moment.
INT. ELEVATOR - DAY
The scene continues as David Aames rides the elevator. The
compartment now rises above the first seven floors to
reveal they are traveling upwards in an exterior elevator.
Other skyscrapers pass by outside the window.
VENTURA
Forgive me. I'm blowing your
mind.
David looks down with dread.
DAVID
I'm not a big fan of heights.
VENTURA
I know.
(continuing)
We erased what really happened
from your memory.
DAVID
(reaching to understand)
..erased?
VENTURA
Replaced by a better life under
these beautiful Monet-like skies.
DAVID
(recognizing pieces)
My mother's favorite.
VENTURA
That's right.. A better life
because you had Sofia.
ON SOFIA AND DAVID - FLASHBACK
walking down the center of the Village Street.
VENTURA
And you sculpted your Lucid Dream
out of the iconography of your
youth.
99
A FLASH OF FAMILIAR IMAGES
from the life and psyche of his youth. Mirrored in David's
life in moments we've already seen.
VENTURA
An album cover that once moved
you...
DAVID
An album cover?
ON BOB DYLAN AND SUZE ROTOLO
The cover of "Freewheelin' Bob Dylan." Same pose. Same
street.
VENTURA
a movie you once saw late at
night that showed you what a
father could be like...
ON TO KILL A MOCKINGBIRD - MOVIE CLIP
Atticus Finch sits at the breakfast table with his kids.
ON CURTIS MCCABE AND DAVID AAMES IN UNIT - FLASHBACK
The exact pose as McCabe and David talk in one of their
prison conversations.
VENTURA
or what love could be like...
ON SOFIA LAUGHING AT TABLE OF FLORENTINE'S - FLASHBACK
Her head held high, laughing.
ON JEANNE MOREAU - MOVIE CLIP
laughing in the same way, a moment from "Jules et Jim."
INT. ELEVATOR - DAY
The compartment hurtles upwards, rising higher than the
surrounding buildings.
VENTURA
This was a kind woman, an
individual, more than your equal.
Ventura nods wistfully. He fell in love with her a little,
too.
100
VENTURA
You barely knew her in real life,
but. in your Lucid Dream, she was
your savior.
ON DAVID - SLIGHT PUSH
trying to remember, feeling the flashes of truth in brief
moments. And then a bracing, challenging realization that
something went wrong.
DAVID
What happened in my real life?
Something happened. What did you
erase?
VENTURA
Do you really want to know?
HIGH ANGLE SHOT OF DAVID
almost nauseous
DAVID
Tell me everything.
EXT. NIGHTCLUB STREET - DAY
Match push in on David rising to his feet. His disfigured
face thunders with a massive migraine. The exact. shot we
once saw as David and Sofia walked away together. This
time, David is alone.
VENTURA
The morning after the nightclub,
you woke up on that street, hung-
over and along. You got up and
walked away. You never saw Sofia
again.
DAVID
I didn't kill Sofia.
VENTURA
No.
ON DAVID - IN ELEVATOR
He can't remember any of this. And then...
VENTURA
You battled your board, the Seven
Dwarves, for control. In the end
it was Thomas Tipp, your father's
101
friend, the one whose job you
saved, who wrenched the company
back in your control.
INT. RISE PUBLICATIONS - DAY - FLASHBACK
David exits the company elevator and returns to Aames
Publications. Tipp is out in front of the employees and
staffers who welcome him back.
DAVID
(warmly)
Tommy.
(vague memories)
But then... somebody died.
INT. DAVID'S APARTMENT - NIGHT
David sits in front of the computer in bad physical shape.
VENTURA
You longed for Sofia. You shut
yourself away for months. You
were alone. You couldn't take the
pain anymore. Headaches... you
could barely function.
DAVID
I found you on the Internet. I
signed the contract with you. And
then...
INT. MOTEL --- NIGHT -- FLASHBACK
Aames takes pills, collapses. Music plays.
PUSH INTO CLOSE UP ON DAVID IN ELEVATOR
DAVID
I remember...
It comes back to him, powerfully.
DAVID
Somebody died. It was me.
ON DAVID IN BODY BAG -- FLASHBACK
It's zipped up.
102
ON CRYONIC TANK -- FLASHBACK
The plastic-wrapped body of David Aames is slipped into a
tube, which is clamped shut. A Christmas tree in the
background, as music continues.
VENTURA
And on a day in late December, you
gave yourself to us. You're now
in a suspended state.
INT. DAVID'S APARTMENT •-- MEMORIAL - DAY
Friends and family clog the old apartment. Shelby looks
out into the hallway and sees an old acquaintance.
VENTURA
Your friend Brian Shelby threw a
three-day memorial in your old
home. He was a true friend.
INT. DAVID'S APARTMENT - DAY
Sofia ventures into David's apartment alone, taking in the
environment and remembering the best moments of her brief
encounter with David.
VENTURA
You were missed, David.
She moves into close-up, and we see the wonder and the joy
of a perfect love, nearly attained. She soaks in the
beautiful, painful mystery of life.
VENTURA
It was Sofia who never fully
recovered. It was she who somehow
knew you best. And like you, she
never forgot that one night where
real, true love seemed possible.
FLASHBACK - DAY
David contemplates getting into the car with Julianna. He
makes the choice that. will change this, and his next life.
VENTURA
Consequences, David. It's the
little things.
INT. DAVID'S APARTMENT -- DAY
Sofia exits the shot and we're left with an empty frame.
103
ON DAVID -- IN ELEVATOR
David turns from looking out the window of the elevator.
DAVID
(tears in eyes)
The little things. There's
nothing bigger, is there?
EXT. ROOFTOP - DAY
David and Ventura exit the elevator onto the rooftop.
VENTURA
Your subconscious did create
problems. Your dream turned into
a nightmare. The glitch has been
corrected.
DAVID
So all I have to do is imagine
something? If I wanted McCabe to
come back, right now -
McCabe comes flying out of the door.
MCCABE
David. Listen to me. These
people are dangerous. We're in
trouble. We need to get off this
roof now.
MCC DAVID
Who turns from McCabe to Ventura.
Ventura leads David away.
VENTURA
We're now on "pause". And you're
about to return to your Lucid
Dream...
MCCABE
"Pause"?
VENTURA
(continuing)
.. with all of the upgrades. You
won't remember any of this, nor be
charged for the technical support.
it is now your moment of choice.
You can return to your Lucid
Dream, and live a beautiful life
104
with Sofia, or whomever you
wish... or you can choose the
world out there.
Ventura gestures to the city beyond, as they come to a
halt.
CLOSE ON DAVID
DAVID
The world out. there. And you can
bring me back, just. like Benny the
Dog.
CLOSE ON VENTURA
The client is starting to understand.
VENTURA
Yes. Just like Benny the Dog.
Your face and body can now be
fixed, of course. But it's very
different out there now. Your
finances won't last long. Your
panel of observers are waiting for
you to choose.
Ventura gestures into the camera. He begins walking
backwards to the roof's ledge.
VENTURA
There are no guarantees. But
remember, even in the future, the
sweet is never as sweet without
the sour.
David sees that Brian Shelby has now joined McCabe on the
roof. He nods to Brian, who nods back.
DAVID
How do I wake up?
VENTURA
The decision is yours.
Ventura glances over the edge.
DAVID
And I chose this scenario, didn't
I?
105
VENTURA
(enjoying that he
understands)
Yes, to face your last remaining
fear of heights.
MCCABE
David, don't listen to him. You
were right. This is the Seven
Dwarves. It's a set up! You
can't trust him.
David looks at McCabe with compassion.
VENTURA
Don't feel bad, David. This
winning man is your creation.
It's in his nature to fight for
his existence. But he's not real.
CLOSE ON DAVID
who looks on with compassion.
McCabe fights for himself.
MCCABE
I'm real. I have two daughters.
You know that.
VENTURA
What are their names?
MCCABE
I - I --
CLOSE ON DAVID
who feels for McCabe as the apparition crumbles.
MCCABE
Mortality as home entertainment.
This cannot be the future. Can
it?
David regards McCabe. Once dynamic, McCabe now seems
unsure of his own existence. Slowly, always looking at
David, he settles into the truth of his very being. With
great nobility, McCabe shoves his hands into his pockets
and faces his own destiny... or lack thereof.
MCCABE
(quietly)
Goodbye.
106
VENTURA
It's been a brilliant journey of
self-awakening, and you've simply
got to ask yourself -- what is
happiness to you?
CLOSE PUSH IN ON DAVID AAMES
His moment of realization.
DAVID
I want to live a real life. I
don't want to dream any longer.
VENTURA
Any last wishes?
DAVID
Let them out there read my mind.
VENTURA
I wish you well, David.
Music rises as he turns to see Sofia. He moves to her.
She touches his cheek. His face is restored. They
embrace.
DAVID
Look at us. I'm frozen, and
you're dead. And I love you.
SOFIA
It's a problem.
DAVID
I lost you when I got in that car.
I'm sorry.
She looks at him, beguiling and understanding.
DAVID
But remember what you told me
once? Every passing minute is
another chance to turn it all
around.
She kisses him.
SOFIA
I'll find you again.
She regards her lost love, taking him in. David treasures
his last moments with her.
107
David takes a breath and begins backing to the ledge.
DAVID
I'll see you in another life when
we are both cats.
David backs up and begins to run. He arrives at the edge,
looking down at the distance to the ground, stopping
himself at the precipice.
He looks back to Sofia one last time, and then leaps out
into the celestial future. For a fraction of a moment, he
is suspended in mid-air. And he hurtles to the ground.
And the ground hurtles to meet him.
SERIES OF IMAGES
It is the little things, the random poetic instances of
David Aames' life that come back to him. Music rises as he
realizes, finally, his own true poetry and humanity. The
images topple onto each other with the rhythm of his
heartbeat. Father. Mother. A casual glance of a
stranger. All combine to give his life meaning. And then,
finally, we see the face of the one person who gave him
purpose in this life... and the next. Sofia.
TO WHITE:
The sound of a breath. A gulp of life. Someone's heart is
beating.
A WOMAN'S VOICE
Relax... relax, David... open your
eyes...
An eye opens and the pupil darts to the right and left.
Life again.
A WOMAN'S VOICE
open your eyes.
THE END
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